1
00:00:00,480 --> 00:00:05,760
Speaker 1: Celebrity Club. Oh thank you for coming to meet me

2
00:00:05,800 --> 00:00:08,000
Speaker 1: at the Old Crow's Head after my performance of A

3
00:00:08,039 --> 00:00:10,440
Speaker 1: Midsummer Night's Shawlbridge.

4
00:00:11,000 --> 00:00:14,880
Speaker 2: Judy, you were a mother fucking magnificent in that. Tell

5
00:00:14,920 --> 00:00:17,800
Speaker 2: me this theater. It's awesome, it's your thing. Okay, it's

6
00:00:17,800 --> 00:00:22,079
Speaker 2: your bag. But will you do fucking chocko law with me?

7
00:00:22,520 --> 00:00:25,119
Speaker 1: Oh, Harvey Weinstein, I'm terribly, terribly patted, and thank you

8
00:00:25,200 --> 00:00:26,800
Speaker 1: so much for going all the way to night Stitch

9
00:00:26,880 --> 00:00:29,920
Speaker 1: to see me. I never thought that American of your stature.

10
00:00:29,960 --> 00:00:31,240
Speaker 1: And I don't mean that as a fat joke.

11
00:00:32,800 --> 00:00:36,120
Speaker 2: I'm a fat fuck for sure. I'm a horny, fat

12
00:00:36,159 --> 00:00:38,520
Speaker 2: fuck who loves theater and loves Judy dead.

13
00:00:38,920 --> 00:00:40,239
Speaker 1: You've got such a wicked sense.

14
00:00:40,600 --> 00:00:42,360
Speaker 2: I wish I was older so you'd go for me.

15
00:00:44,200 --> 00:00:46,239
Speaker 1: Oh now, Harvey, come now, I've heard you like them

16
00:00:46,320 --> 00:00:49,199
Speaker 1: quite young. Tell me about this film you want me

17
00:00:49,240 --> 00:00:49,680
Speaker 1: to work on you.

18
00:00:49,920 --> 00:00:54,040
Speaker 2: This is an amazing fucking story. It's about a woman

19
00:00:54,520 --> 00:00:58,640
Speaker 2: in fucking France. You're familiar. Oh god dear, she makes

20
00:00:58,680 --> 00:01:02,760
Speaker 2: this chocolate, but the doesn't respect her. They'll think she's

21
00:01:02,800 --> 00:01:07,160
Speaker 2: a fucking slut. You're this cranky, old fucking bitch.

22
00:01:07,319 --> 00:01:09,120
Speaker 1: Oh, so it's sort of like Taming of the True

23
00:01:09,840 --> 00:01:13,360
Speaker 1: exactly with a small business kind of it's about.

24
00:01:13,120 --> 00:01:16,520
Speaker 2: Small businesses that don't use shopify dot com. So she

25
00:01:16,640 --> 00:01:20,160
Speaker 2: makes this fucking chocolate and it just has this crazy

26
00:01:20,319 --> 00:01:23,720
Speaker 2: shit and it makes you get fucking high.

27
00:01:24,000 --> 00:01:26,280
Speaker 1: Oh dear, its confessed. I've never done a drug other

28
00:01:26,319 --> 00:01:29,680
Speaker 1: than opium with the Queen once. It was nineteen forty

29
00:01:29,680 --> 00:01:33,080
Speaker 1: two and we were on safari doing a royal production

30
00:01:33,160 --> 00:01:37,040
Speaker 1: of Shakespeare in West Ghana, and after one of the performances,

31
00:01:37,160 --> 00:01:39,120
Speaker 1: the president came out of his palace and of course

32
00:01:39,160 --> 00:01:40,720
Speaker 1: there was a coup going on, so he was a

33
00:01:40,720 --> 00:01:43,480
Speaker 1: bit rattled, but he offers us some opium and it

34
00:01:43,520 --> 00:01:45,440
Speaker 1: was some of the most delicious open I've ever had.

35
00:01:45,440 --> 00:01:46,800
Speaker 1: So it was sort of like bad Harvey.

36
00:01:47,440 --> 00:01:51,080
Speaker 2: Fuck, use so many six stories. You're one of the

37
00:01:51,080 --> 00:01:54,200
Speaker 2: only women I'd rather hear talks of. Fuck. But I

38
00:01:54,440 --> 00:01:56,919
Speaker 2: tell me, did you and the Queen? Did you? Guys?

39
00:01:57,360 --> 00:01:58,480
Speaker 1: You know, Harvey?

40
00:01:58,760 --> 00:02:01,240
Speaker 2: A little something going on in the tent.

41
00:02:01,920 --> 00:02:03,920
Speaker 1: A dame never reveals the secrets.

42
00:02:04,400 --> 00:02:05,840
Speaker 2: Oh will you do shock the lah?

43
00:02:06,120 --> 00:02:09,040
Speaker 1: I suppose I'll do your little chocolate film.

44
00:02:08,680 --> 00:02:10,400
Speaker 2: But only six million.

45
00:02:10,560 --> 00:02:12,200
Speaker 1: I'll do it for three million, and you have to

46
00:02:12,240 --> 00:02:16,320
Speaker 1: donate the other three million to a Shakespeare charity for

47
00:02:16,440 --> 00:02:17,560
Speaker 1: girls with no teeth in.

48
00:02:17,520 --> 00:02:20,520
Speaker 2: Scotland, girls with no teeth. I like the sound of that.

49
00:02:20,880 --> 00:02:23,280
Speaker 1: You got a deal, Oh Harvey, You'll be the death

50
00:02:23,360 --> 00:02:28,280
Speaker 1: of me. Who's that knocking at the door. It's all

51
00:02:28,360 --> 00:02:31,280
Speaker 1: your friends. You've filthy whr your husband's gone and we've

52
00:02:31,320 --> 00:02:34,600
Speaker 1: got books and a bottle of wine to kill. It's Hollywood,

53
00:02:34,800 --> 00:02:42,240
Speaker 1: it's books, it's gossip. I'm shurek. It's memoirs Martini, Celebrity

54
00:02:42,240 --> 00:02:45,320
Speaker 1: poof Club to read it while it's hot.

55
00:02:45,680 --> 00:02:51,280
Speaker 2: Celebrity puff Club. Tell your secrets. We won't talk celebrity books.

56
00:02:51,760 --> 00:02:53,480
Speaker 2: No boys are a loud.

57
00:02:53,520 --> 00:02:58,680
Speaker 1: Celet say it loud and pound Celebrity book Club.

58
00:02:59,440 --> 00:03:01,200
Speaker 2: Buzz me and I brought the queer vow.

59
00:03:01,560 --> 00:03:03,320
Speaker 3: Hell hello, best friend?

60
00:03:03,720 --> 00:03:08,720
Speaker 2: Shall I say hello? Fellow, Dame Dame Marta.

61
00:03:08,960 --> 00:03:09,600
Speaker 1: For all these.

62
00:03:09,520 --> 00:03:13,240
Speaker 2: Years, Dame Horst, I really thought I never speak to

63
00:03:13,240 --> 00:03:14,240
Speaker 2: you for the rest of my life.

64
00:03:14,280 --> 00:03:16,840
Speaker 1: Well, I was terribly incensed to notice you gave me

65
00:03:16,880 --> 00:03:19,720
Speaker 1: in nineteen sixty nine, after a performance Obtainment of the

66
00:03:19,720 --> 00:03:24,120
Speaker 1: Shrew at the Shoreditch in Olwidg in Canterbushire at Oxford, you.

67
00:03:24,040 --> 00:03:26,600
Speaker 2: Know, and I have to apologize for that notice, though

68
00:03:26,680 --> 00:03:29,120
Speaker 2: I've never apologized for a notice I've written before, and

69
00:03:29,160 --> 00:03:31,880
Speaker 2: I usually do not like to socialize with actors and

70
00:03:31,919 --> 00:03:36,240
Speaker 2: players of the company. But you've really proven yourself, of

71
00:03:36,320 --> 00:03:39,760
Speaker 2: course over the last couple of years, I'll say.

72
00:03:39,720 --> 00:03:42,080
Speaker 1: Well, i'd say that you've really proven yourself too, to

73
00:03:42,120 --> 00:03:45,920
Speaker 1: be a podcaster of the utmost distinction, worthy of the

74
00:03:46,040 --> 00:03:48,120
Speaker 1: Queen's bestowal of dame ship.

75
00:03:48,360 --> 00:03:51,760
Speaker 2: Yes, the Queen's really what brought us together, isn't because

76
00:03:51,760 --> 00:03:56,040
Speaker 2: she was on my podcast? Okay, why are we talking? Okay,

77
00:03:56,200 --> 00:03:57,000
Speaker 2: this is gonna be hard.

78
00:03:57,480 --> 00:03:58,800
Speaker 1: I don't think I'm going to be able to leave

79
00:03:58,800 --> 00:04:01,120
Speaker 1: the accent. I was gonna stay.

80
00:04:00,680 --> 00:04:03,520
Speaker 2: Live in it. Be the role, commit to the role.

81
00:04:03,640 --> 00:04:05,920
Speaker 1: I've been in the role all week listening.

82
00:04:05,520 --> 00:04:06,400
Speaker 2: To Let's Say It.

83
00:04:06,920 --> 00:04:09,800
Speaker 1: Siren of the Stage in screen, one of the most

84
00:04:09,800 --> 00:04:11,880
Speaker 1: decorated actresses in British history.

85
00:04:11,760 --> 00:04:13,000
Speaker 3: The Dame of all Dames.

86
00:04:13,280 --> 00:04:15,920
Speaker 1: You probably know her from her spat of Like Oscar,

87
00:04:15,960 --> 00:04:18,920
Speaker 1: nominated films in the sort of White to q Era,

88
00:04:19,160 --> 00:04:24,320
Speaker 1: Chaco La, Shakespeare in Love, Iris, Elizabeth Notes on a Scandal,

89
00:04:25,000 --> 00:04:25,680
Speaker 1: Missus Brown.

90
00:04:25,960 --> 00:04:26,960
Speaker 3: Oh, you might.

91
00:04:26,880 --> 00:04:30,960
Speaker 2: Just know her from her long running BBC television show

92
00:04:31,600 --> 00:04:32,520
Speaker 2: As Time.

93
00:04:32,360 --> 00:04:36,080
Speaker 1: Goes By, or perhaps you know her from her decades

94
00:04:36,360 --> 00:04:39,440
Speaker 1: with the Royal Shakespeare Company and the National Theater as

95
00:04:39,480 --> 00:04:42,479
Speaker 1: one of the most decorated actresses of Britain's theaters. Scene,

96
00:04:42,480 --> 00:04:43,800
Speaker 1: of course, we're talking about.

97
00:04:43,520 --> 00:04:52,000
Speaker 2: None and her book and Furthermore, which is the best

98
00:04:52,040 --> 00:04:56,000
Speaker 2: title ever? And it's lowercase Darling and further.

99
00:04:55,880 --> 00:04:59,080
Speaker 1: And it's lowercase to suggest that there's modera, there was

100
00:04:59,080 --> 00:04:59,839
Speaker 1: more before.

101
00:04:59,560 --> 00:05:02,159
Speaker 2: And then there's after, because you know, she begins and

102
00:05:02,360 --> 00:05:04,760
Speaker 2: ends the book saying, well, I hope this isn't the end.

103
00:05:04,880 --> 00:05:07,080
Speaker 1: No, I'm gonna be working up to the very last minute.

104
00:05:07,080 --> 00:05:09,800
Speaker 1: And Furthermore, she's eighty nine now, No, And.

105
00:05:09,760 --> 00:05:14,240
Speaker 2: She says actors don't need to retire because there are

106
00:05:14,360 --> 00:05:16,359
Speaker 2: roles in wheelchairs and bends.

107
00:05:18,920 --> 00:05:21,360
Speaker 1: She's like, retirement is for if you have a job

108
00:05:21,400 --> 00:05:23,560
Speaker 1: that you have to do, Like you work any factory,

109
00:05:23,560 --> 00:05:25,440
Speaker 1: you work to make money. You don't like your job,

110
00:05:25,480 --> 00:05:26,840
Speaker 1: you are tired, You go do the things you want

111
00:05:26,880 --> 00:05:29,360
Speaker 1: to do. I'm already doing what I want to do,

112
00:05:29,560 --> 00:05:30,599
Speaker 1: so why would I retire?

113
00:05:30,640 --> 00:05:31,560
Speaker 2: Why would you retire?

114
00:05:31,760 --> 00:05:34,880
Speaker 1: I keep going playing some old dotty batty woman in

115
00:05:34,920 --> 00:05:36,760
Speaker 1: a wheelchair. What's wrong with lack?

116
00:05:37,440 --> 00:05:40,719
Speaker 2: Which is so cool? And so I said to myself

117
00:05:40,760 --> 00:05:43,640
Speaker 2: today three pm, have some tea. I said, I'm never

118
00:05:43,680 --> 00:05:44,279
Speaker 2: gonna retire.

119
00:05:44,440 --> 00:05:47,320
Speaker 1: I'm having a cup of decaf El Gray because you know,

120
00:05:47,360 --> 00:05:50,480
Speaker 1: at my advanced age, I don't need to four pm.

121
00:05:50,560 --> 00:05:52,800
Speaker 2: It's interesting because you're going through a long ride of

122
00:05:52,839 --> 00:05:54,960
Speaker 2: the country. Still don't want caffeine.

123
00:05:55,000 --> 00:05:57,080
Speaker 1: I am going on a long six hour drive to

124
00:05:57,120 --> 00:06:02,839
Speaker 1: my country home. And there's something that you can become

125
00:06:02,880 --> 00:06:06,120
Speaker 1: too alert on the road and you overreact to these

126
00:06:06,200 --> 00:06:07,279
Speaker 1: ghastly trucks.

127
00:06:08,680 --> 00:06:12,679
Speaker 2: You've become, in your old age, little anxious on the road,

128
00:06:12,839 --> 00:06:13,359
Speaker 2: haven't you.

129
00:06:14,160 --> 00:06:16,679
Speaker 1: Yeah, I am, I am. No, my dear dear husband

130
00:06:16,680 --> 00:06:18,080
Speaker 1: has to make a bed for me like a dog

131
00:06:18,160 --> 00:06:18,960
Speaker 1: in the boot.

132
00:06:19,400 --> 00:06:24,120
Speaker 2: You know, I almost hit wild Turkey the other day driving.

133
00:06:24,360 --> 00:06:26,000
Speaker 1: Wait, I'd love to hear this story.

134
00:06:26,240 --> 00:06:28,440
Speaker 2: Yeah, I'll just tell it in pure American.

135
00:06:30,520 --> 00:06:31,080
Speaker 1: Back to breakay.

136
00:06:31,200 --> 00:06:33,000
Speaker 2: So you know, I was just kind of on It

137
00:06:33,080 --> 00:06:35,400
Speaker 2: was kind of a Route sixty six type of road,

138
00:06:36,080 --> 00:06:39,080
Speaker 2: and you know, you're just going not so fast, but fast,

139
00:06:39,760 --> 00:06:44,520
Speaker 2: and then just trot, trot, trot, wild Turkey fully walking

140
00:06:44,600 --> 00:06:45,760
Speaker 2: through the middle higher.

141
00:06:46,000 --> 00:06:49,440
Speaker 1: See, turkeys have become like incredibly bold in the Pastva.

142
00:06:49,960 --> 00:06:52,000
Speaker 3: Well, they've been hanging out in the square quite invasive.

143
00:06:52,040 --> 00:06:54,599
Speaker 1: Yeah, I've seen them all over Cambridge. So just walking

144
00:06:54,640 --> 00:06:55,440
Speaker 1: across the road.

145
00:06:55,680 --> 00:06:58,320
Speaker 2: Yes, you know, and so I know you're not supposed

146
00:06:58,360 --> 00:07:01,599
Speaker 2: to swerve in those situations. They tell you a drivers and.

147
00:07:01,680 --> 00:07:03,400
Speaker 1: You're supposed to like hit the turkey dead on.

148
00:07:03,960 --> 00:07:05,800
Speaker 2: Well, so I swerved because I was like, well, I'm

149
00:07:05,800 --> 00:07:08,159
Speaker 2: not trying to kill this turkey. But then it's like

150
00:07:08,480 --> 00:07:11,080
Speaker 2: I freaked out because I swerved, and then like someone

151
00:07:11,080 --> 00:07:13,160
Speaker 2: could have hit me, and it's actually it's more dangerous.

152
00:07:13,600 --> 00:07:15,200
Speaker 1: You swerved into the oncoming lane.

153
00:07:15,440 --> 00:07:18,120
Speaker 2: No, just more to the side the shiulder. Well, I

154
00:07:18,120 --> 00:07:20,800
Speaker 2: didn't go. It was a quick swerve. I didn't go

155
00:07:20,840 --> 00:07:22,239
Speaker 2: all the way. I stayed in my lane.

156
00:07:22,280 --> 00:07:25,040
Speaker 1: It sounds like your reaction was absolutely splendid if.

157
00:07:24,920 --> 00:07:26,920
Speaker 2: You russually was. I swerved a little bit out of

158
00:07:26,920 --> 00:07:29,840
Speaker 2: respect for the turkey. But then I got right back

159
00:07:29,840 --> 00:07:32,760
Speaker 2: on the road. It was a little shaken, and I

160
00:07:32,800 --> 00:07:35,000
Speaker 2: was shaken definitely for the next few miles that I

161
00:07:35,040 --> 00:07:38,880
Speaker 2: had to stop for an American snack. Yes, and I

162
00:07:38,920 --> 00:07:39,960
Speaker 2: had a snack wrap.

163
00:07:39,760 --> 00:07:42,200
Speaker 1: Of sorts, some sort of like ham creation.

164
00:07:42,520 --> 00:07:46,120
Speaker 2: No, it was a chicken creation. Cluck cluck. Anyway, I

165
00:07:46,240 --> 00:07:47,840
Speaker 2: was killed a turkey. I didn't kill the turkey. I

166
00:07:47,920 --> 00:07:51,800
Speaker 2: was killed myself, my lovely girl friend. But we all

167
00:07:51,960 --> 00:07:53,160
Speaker 2: escaped well off.

168
00:07:53,400 --> 00:07:56,200
Speaker 1: But I like to congratulate you in your sick reaction time.

169
00:07:56,240 --> 00:07:58,560
Speaker 1: It sounds like, yeah, nail.

170
00:07:58,560 --> 00:08:02,440
Speaker 2: Now, that saved the turkeys. Back to Dame Judy Dench.

171
00:08:02,680 --> 00:08:05,800
Speaker 1: So what was your first interaction with her growing up?

172
00:08:05,800 --> 00:08:08,880
Speaker 1: Be so for me, it was the James Bondfield GoldenEye,

173
00:08:09,360 --> 00:08:11,680
Speaker 1: which for American boys of a certain age, which was

174
00:08:11,840 --> 00:08:15,200
Speaker 1: a very, very pivotal film nineteen ninety five relaunched the

175
00:08:15,280 --> 00:08:19,200
Speaker 1: franchise with Pierce Brosnan, and she also came on as

176
00:08:19,200 --> 00:08:22,239
Speaker 1: a new n and she's so phenomenal in that film,

177
00:08:22,280 --> 00:08:24,080
Speaker 1: phenomenal and it eight film.

178
00:08:24,200 --> 00:08:26,520
Speaker 2: It brought her kind of really back into the American

179
00:08:26,640 --> 00:08:29,720
Speaker 2: I I would say, because it was British this, British that,

180
00:08:29,840 --> 00:08:30,920
Speaker 2: and never knew who she was.

181
00:08:31,040 --> 00:08:33,680
Speaker 1: But like, because she was already like seventy at that point.

182
00:08:33,760 --> 00:08:37,920
Speaker 1: What's so crazy about this book is she's ninety, like from.

183
00:08:38,160 --> 00:08:40,600
Speaker 2: From the beginning, and she's listing so many plays and

184
00:08:40,640 --> 00:08:43,040
Speaker 2: like the chapters will be like nineteen sixty to nineteen

185
00:08:43,080 --> 00:08:47,360
Speaker 2: sixty seven Shakespeare Company, the years at Oxford and.

186
00:08:47,640 --> 00:08:51,200
Speaker 1: Surrey, literally doing plays in the war, like in the

187
00:08:51,200 --> 00:08:52,720
Speaker 1: middle of the Blitz.

188
00:08:52,600 --> 00:08:55,320
Speaker 2: And then like Vietnam War, but no wars really mentioned.

189
00:08:55,400 --> 00:08:59,520
Speaker 2: She'll just be like, oh and the Countryside was absolutely

190
00:08:59,640 --> 00:09:02,280
Speaker 2: ripped part. But you're a little bit like, wait, are

191
00:09:02,320 --> 00:09:06,240
Speaker 2: you fifty now? Are you thirty now? But Dame Jity Dench,

192
00:09:06,320 --> 00:09:08,840
Speaker 2: what was my first moment with her? She's just always

193
00:09:08,920 --> 00:09:10,440
Speaker 2: kind of seemed to be there. Honestly.

194
00:09:10,559 --> 00:09:12,640
Speaker 1: She has this incredible line where they first meet. She goes,

195
00:09:12,679 --> 00:09:14,840
Speaker 1: you don't like me, Bond, you don't like my methods.

196
00:09:15,120 --> 00:09:17,680
Speaker 1: You think of an accountant, a bean counter moll, she said,

197
00:09:17,720 --> 00:09:20,240
Speaker 1: in my numbers, your instincts. And then he's like, I

198
00:09:20,280 --> 00:09:21,840
Speaker 1: thought across my mind. She goes, good because I think

199
00:09:21,880 --> 00:09:25,160
Speaker 1: you're a sexist, misogynist dinosaur. And she says misogynists with

200
00:09:25,200 --> 00:09:28,959
Speaker 1: a zxogynist, which is so chic. And she's leaning back

201
00:09:29,280 --> 00:09:33,959
Speaker 1: in her leather executives in her office chair and she's

202
00:09:34,000 --> 00:09:37,240
Speaker 1: literally not moving like she moves very little. And one

203
00:09:37,240 --> 00:09:38,959
Speaker 1: thing that she talks about in this book that's actually

204
00:09:39,000 --> 00:09:41,560
Speaker 1: quite true is the camera picks up everything. Yes, you

205
00:09:41,559 --> 00:09:44,360
Speaker 1: could like emotionally shrug your shoulders and the camera will

206
00:09:44,360 --> 00:09:46,200
Speaker 1: pick it up. So you need to move a lot

207
00:09:46,280 --> 00:09:48,280
Speaker 1: less when you're in these tight tops because it's blown

208
00:09:48,320 --> 00:09:50,440
Speaker 1: so big up. She goes, you're the size of a

209
00:09:50,440 --> 00:09:51,760
Speaker 1: farm when you're on screen.

210
00:09:51,800 --> 00:09:54,720
Speaker 2: It's so funny. We actually haven't talked much, maybe to

211
00:09:54,840 --> 00:09:58,160
Speaker 2: each other about camera of a theater. And she says,

212
00:09:58,160 --> 00:10:01,120
Speaker 2: you know, all these actors these days, they wake up

213
00:10:01,520 --> 00:10:04,199
Speaker 2: and they say, oh, I want to be a TV star, and.

214
00:10:04,120 --> 00:10:05,960
Speaker 1: Then I want to be a movie star, right, and

215
00:10:05,960 --> 00:10:07,800
Speaker 1: then I'm gonna go do six weeks of a play

216
00:10:07,920 --> 00:10:09,079
Speaker 1: for a gag for a.

217
00:10:09,040 --> 00:10:11,080
Speaker 2: Gag, oh just because oh oops, I did a play.

218
00:10:11,080 --> 00:10:14,280
Speaker 1: It's back to you in a fun stage because they're

219
00:10:14,280 --> 00:10:16,440
Speaker 1: trained by the camera and so they're being far too

220
00:10:16,440 --> 00:10:20,320
Speaker 1: still and that emotion's not being telegraphed the last week exactly.

221
00:10:20,400 --> 00:10:24,400
Speaker 2: What's interesting, she's really basically saying, like TV and movie acting,

222
00:10:24,400 --> 00:10:27,160
Speaker 2: it's like you can shrug and the camera picks up

223
00:10:27,200 --> 00:10:30,520
Speaker 2: on everything. Yeah, she's almost been like, you're hardly acting.

224
00:10:31,280 --> 00:10:35,640
Speaker 2: Real acting is full the stage. But then she'll also

225
00:10:35,760 --> 00:10:39,959
Speaker 2: be like, doing situational comedy television is the hardest thing

226
00:10:40,080 --> 00:10:42,040
Speaker 2: anyone in the entire World. No.

227
00:10:42,120 --> 00:10:43,559
Speaker 1: I love that she admit that because she does ten

228
00:10:43,600 --> 00:10:45,840
Speaker 1: seasons of As Time Goes By, which have you?

229
00:10:45,880 --> 00:10:47,720
Speaker 2: I watched it? Yeah, I watched some clips.

230
00:10:47,760 --> 00:10:50,920
Speaker 1: It's just the charming. What's insane is she's shooting a

231
00:10:51,000 --> 00:10:53,520
Speaker 1: Time Goes By as she's also in like three shape.

232
00:10:53,280 --> 00:10:55,760
Speaker 2: Three hundred plays, and she's like, so I'd film The

233
00:10:55,840 --> 00:10:57,520
Speaker 2: Times go By from five to seven. We get off

234
00:10:57,520 --> 00:10:59,920
Speaker 2: at seven. Then I would go down to the bucking

235
00:11:00,280 --> 00:11:05,559
Speaker 2: Palace Workshop Theater with Glone Guildeblatta, Michael Smith, John Hadden's

236
00:11:05,640 --> 00:11:09,479
Speaker 2: name Maggie Smith, and that's a Redgrave, Michael Redgrave.

237
00:11:09,720 --> 00:11:13,520
Speaker 1: We'd have two matinees, then off to the pub, fall asleep,

238
00:11:13,640 --> 00:11:17,240
Speaker 1: learn my lines call at five am, like learn the

239
00:11:17,280 --> 00:11:19,720
Speaker 1: scene the next day. It's like I can barely read

240
00:11:19,720 --> 00:11:22,480
Speaker 1: one book a week and you're shooting an entire episode

241
00:11:22,480 --> 00:11:26,400
Speaker 1: of television and doing eight performances of a Shakespeare play

242
00:11:26,480 --> 00:11:27,480
Speaker 1: every single week.

243
00:11:27,920 --> 00:11:30,320
Speaker 2: You know, sometimes though, I think when you're busier, it's

244
00:11:30,320 --> 00:11:31,520
Speaker 2: easier to be busier.

245
00:11:32,000 --> 00:11:33,440
Speaker 1: So true, busy's easy.

246
00:11:33,559 --> 00:11:38,000
Speaker 2: Busy's easy. But give yourself one Judy Dench book to

247
00:11:38,080 --> 00:11:41,400
Speaker 2: read a week, and then you're like, oh, I have

248
00:11:41,480 --> 00:11:42,000
Speaker 2: to get.

249
00:11:41,840 --> 00:11:43,719
Speaker 1: To it well Also, it's hard for us. And I'll

250
00:11:43,760 --> 00:11:46,400
Speaker 1: say this, and I'll defend us to the fucking.

251
00:11:46,679 --> 00:11:49,680
Speaker 2: Yeah please, which is that throne of queen.

252
00:11:50,120 --> 00:11:53,800
Speaker 1: We're not just reading a book. We're reading people's entire

253
00:11:53,920 --> 00:11:57,200
Speaker 1: lives often and so like, Yes, when we do Ariano

254
00:11:57,240 --> 00:11:59,680
Speaker 1: Maddox as Cocktail Book, sure I can squeeze in some

255
00:11:59,720 --> 00:12:02,520
Speaker 1: other tasks that week. But when we do Judy Dench's

256
00:12:02,559 --> 00:12:04,720
Speaker 1: it's like I'm with Judy Dunch from nineteen thirty four

257
00:12:04,920 --> 00:12:08,440
Speaker 1: up until twenty ten. It's like I'm living eighty years

258
00:12:08,480 --> 00:12:09,480
Speaker 1: in the span of a week.

259
00:12:09,559 --> 00:12:10,000
Speaker 2: I'm writing.

260
00:12:10,040 --> 00:12:11,800
Speaker 1: She's kind of exhausted by all that.

261
00:12:12,120 --> 00:12:13,480
Speaker 2: I'm watching as time goes by.

262
00:12:13,559 --> 00:12:15,920
Speaker 1: We're watching all the films for Watch Yeah television show.

263
00:12:15,920 --> 00:12:17,520
Speaker 1: It's actually quite a lot, quite a lot.

264
00:12:17,520 --> 00:12:21,319
Speaker 2: I'm going to Thespere Academy. I'm actually an understudied currently.

265
00:12:21,320 --> 00:12:24,079
Speaker 2: I'll quit after this recording, but I am an understudy

266
00:12:24,160 --> 00:12:25,080
Speaker 2: right now for much.

267
00:12:25,000 --> 00:12:26,839
Speaker 1: Because we're basically doing the work that she does in

268
00:12:26,880 --> 00:12:29,680
Speaker 1: the four months of rehearsals before the show goes on.

269
00:12:30,000 --> 00:12:32,839
Speaker 1: Dive in, yes, and you completely immerse yourself to speak

270
00:12:32,840 --> 00:12:33,320
Speaker 1: of the theater.

271
00:12:33,440 --> 00:12:35,880
Speaker 2: I just just a call back to another episode let's

272
00:12:35,920 --> 00:12:38,360
Speaker 2: just you know, blend, you know we are robots here.

273
00:12:38,440 --> 00:12:40,440
Speaker 1: No please, no, we don't have a formula to stick

274
00:12:40,480 --> 00:12:43,400
Speaker 1: to you every time. And theater is about the unexpected, and.

275
00:12:43,480 --> 00:12:47,920
Speaker 2: What is more unexpected than Dame Arianomattox right now starring

276
00:12:47,960 --> 00:12:50,960
Speaker 2: in the role of Roxy Hot in Chicago.

277
00:12:51,520 --> 00:12:53,840
Speaker 1: I couldn't believe it was our world combining in one. Yes,

278
00:12:54,200 --> 00:12:58,160
Speaker 1: because of course she did Nine the Movie Musical, which

279
00:12:58,280 --> 00:13:02,319
Speaker 1: directed by Rob Marshall, who directed Chicago the Movie Musical

280
00:13:02,400 --> 00:13:05,280
Speaker 1: with Renee Zelwiga as Roxy Hot in the title role.

281
00:13:05,760 --> 00:13:10,760
Speaker 1: And then now Arian Ematics bartenders from Vanda Bomb Rules.

282
00:13:10,960 --> 00:13:12,960
Speaker 1: It's so crazy how just like okay, so anyone can

283
00:13:12,960 --> 00:13:16,280
Speaker 1: play Roxy like I don't understand how she can play

284
00:13:16,040 --> 00:13:18,160
Speaker 1: rock And then we saw Brandy and.

285
00:13:18,200 --> 00:13:21,160
Speaker 2: As Roxy as she Simpson has played.

286
00:13:21,200 --> 00:13:27,360
Speaker 1: Roxy is a Although I will say this about musicals

287
00:13:27,400 --> 00:13:29,720
Speaker 1: because Judy Dench does a lot of musicals and she

288
00:13:29,880 --> 00:13:34,760
Speaker 1: does what's the Stephen Sondheim one sign the clowns, Yes,

289
00:13:35,000 --> 00:13:37,080
Speaker 1: what's the name of the musical? I've seen it on Broadway.

290
00:13:37,160 --> 00:13:39,840
Speaker 1: I saw it with Bernette Peter Babe, which was incredible.

291
00:13:40,240 --> 00:13:41,880
Speaker 1: I'm sure all these gays are listening to the podcast

292
00:13:41,920 --> 00:13:46,080
Speaker 1: right now just anyway, she isn't that. But what's so

293
00:13:46,160 --> 00:13:48,720
Speaker 1: cool about musicals is you actually don't need a great

294
00:13:48,800 --> 00:13:50,760
Speaker 1: voice to be in a musical. You just need to

295
00:13:50,840 --> 00:13:53,280
Speaker 1: like sing it. And she has this one line where

296
00:13:53,280 --> 00:13:56,960
Speaker 1: she's like, if you can't hit the note, act like

297
00:13:57,080 --> 00:14:00,880
Speaker 1: you can't hit the note. Make it part of the character,

298
00:14:01,120 --> 00:14:03,840
Speaker 1: so that it's the character not getting the note, rather

299
00:14:03,920 --> 00:14:06,320
Speaker 1: than like, oh, she can't sing it, which I do

300
00:14:06,320 --> 00:14:08,280
Speaker 1: think is a problem with a lot of Broadby actors today.

301
00:14:08,440 --> 00:14:11,560
Speaker 1: They're trying to be too singing. Yeah, and they're trying

302
00:14:11,559 --> 00:14:13,040
Speaker 1: to be too American idol edition.

303
00:14:12,920 --> 00:14:16,320
Speaker 2: Because Roxy Heart, the character would be kind of a

304
00:14:16,360 --> 00:14:17,360
Speaker 2: mid girl.

305
00:14:17,520 --> 00:14:19,480
Speaker 1: She would be aria automatics in real life.

306
00:14:21,280 --> 00:14:22,920
Speaker 2: I want to talk about the year two thousand and

307
00:14:23,040 --> 00:14:25,160
Speaker 2: nine because this is when I felt it was prime

308
00:14:25,400 --> 00:14:28,640
Speaker 2: American Judy dunchtime of her ye two k era, right,

309
00:14:28,920 --> 00:14:33,000
Speaker 2: and this is her talking about nine. We started working

310
00:14:33,000 --> 00:14:35,080
Speaker 2: on in August two thousand and eight, and we had

311
00:14:35,120 --> 00:14:39,280
Speaker 2: a hugely good time, but it had its frightening moments.

312
00:14:39,560 --> 00:14:41,880
Speaker 2: There were great musical numbers in that we had to

313
00:14:41,960 --> 00:14:44,040
Speaker 2: learn and then go out onto set and rehearse with

314
00:14:44,080 --> 00:14:47,000
Speaker 2: a lot of dances. We're all beautiful stick than Italian

315
00:14:47,400 --> 00:14:50,280
Speaker 2: Daniel day Lewis played the character based on Fellini, and

316
00:14:50,320 --> 00:14:52,400
Speaker 2: all the women in his life were played by an

317
00:14:52,440 --> 00:14:59,240
Speaker 2: international cast, Sophia Laren, Nicole Kidman, Penelope Cruz, Kate Hudson,

318
00:14:59,560 --> 00:15:03,400
Speaker 2: Marie to the Yard, Fergie the American rock singer with

319
00:15:03,440 --> 00:15:04,520
Speaker 2: the black Eyed Peace.

320
00:15:06,480 --> 00:15:10,120
Speaker 1: Rock singer. And then when she goes for some reason

321
00:15:10,240 --> 00:15:13,200
Speaker 1: ninety at the box office or with the notices. This

322
00:15:13,280 --> 00:15:15,640
Speaker 1: whole book, she's saying notices and you're keeping like wait, wait,

323
00:15:16,440 --> 00:15:18,120
Speaker 1: and then you're like you, oh, it's a review. It's

324
00:15:18,160 --> 00:15:20,640
Speaker 1: the British word for review. And she's always like, I

325
00:15:20,720 --> 00:15:22,960
Speaker 1: hardly read my own notices. But then it's like she's

326
00:15:23,000 --> 00:15:25,680
Speaker 1: always reading her own notices, and then this goes.

327
00:15:25,720 --> 00:15:27,800
Speaker 2: It now seems to be a standard requirement with a

328
00:15:27,800 --> 00:15:29,760
Speaker 2: big budget movie for the cast. I have to go

329
00:15:29,800 --> 00:15:32,520
Speaker 2: to American and talk about it. Nicole, Kim and I

330
00:15:32,560 --> 00:15:34,880
Speaker 2: were doing a string of interviews together, one after another.

331
00:15:35,000 --> 00:15:38,120
Speaker 2: One young man said to me, so, it's mother's parts, now,

332
00:15:38,280 --> 00:15:41,680
Speaker 2: is it. I snapped her back. Well, perhaps that's better

333
00:15:41,720 --> 00:15:45,320
Speaker 2: than grandmother's parts, because in the beginning of the book.

334
00:15:45,320 --> 00:15:49,480
Speaker 1: There was this funny line she gets cast as some

335
00:15:49,840 --> 00:15:52,880
Speaker 1: mom and Shakespeare play. And then she sends a note.

336
00:15:52,880 --> 00:15:55,800
Speaker 1: Everyone's always sending notes and just being terribly polite and

337
00:15:55,800 --> 00:15:57,200
Speaker 1: like putting sent.

338
00:15:57,120 --> 00:15:59,200
Speaker 2: A note to the director, and I sent a note

339
00:15:59,240 --> 00:16:01,680
Speaker 2: and I notice viewer. So it's mother's parts? Is it

340
00:16:01,680 --> 00:16:03,160
Speaker 2: Mother's parts? Is it now?

341
00:16:03,480 --> 00:16:05,240
Speaker 1: So I wanted to just back up for a seconds.

342
00:16:05,240 --> 00:16:09,560
Speaker 1: So Danger Dnsch born in nineteen thirty four in born

343
00:16:09,680 --> 00:16:14,760
Speaker 1: in Surrey, born in like Gloucester, Westfordshire, Gloucester, Westfordshire. It's

344
00:16:14,800 --> 00:16:16,800
Speaker 1: hard to say they all run together, these names.

345
00:16:16,920 --> 00:16:20,320
Speaker 2: She loves her mummy and daddy's so bad.

346
00:16:20,200 --> 00:16:23,160
Speaker 1: Work in the theater as well, and her mother is

347
00:16:23,240 --> 00:16:25,480
Speaker 1: like a costume designer and a father's like a set designer,

348
00:16:25,600 --> 00:16:26,800
Speaker 1: but they're also both actors.

349
00:16:27,160 --> 00:16:29,520
Speaker 2: And then like her father like left the theater to

350
00:16:29,600 --> 00:16:32,680
Speaker 2: become like an insurance man or like a clown.

351
00:16:33,080 --> 00:16:37,040
Speaker 1: Basically, this book is her having just terrible fidelity to

352
00:16:37,320 --> 00:16:41,840
Speaker 1: history and wanting you to know every single person that

353
00:16:42,120 --> 00:16:44,680
Speaker 1: ever had anything to do with any play that she

354
00:16:44,800 --> 00:16:47,920
Speaker 1: was ever in. And it's mostly her listing the names

355
00:16:47,960 --> 00:16:53,440
Speaker 1: of theaters and actors and directors and just here's a

356
00:16:53,480 --> 00:16:56,400
Speaker 1: quick sample. The Oxford Playhouse is a notoriously herd theater

357
00:16:56,480 --> 00:16:58,920
Speaker 1: to be heard in, especially under the circle. She should

358
00:16:58,920 --> 00:17:00,960
Speaker 1: do that most irritating thing, but of course the best

359
00:17:00,960 --> 00:17:03,360
Speaker 1: possible thing. When you would say something like pass me

360
00:17:03,400 --> 00:17:06,240
Speaker 1: that book, Frank would shout pass me the what well,

361
00:17:06,320 --> 00:17:09,280
Speaker 1: let me hear it? Then he had a gift for

362
00:17:09,359 --> 00:17:12,200
Speaker 1: castid In that company included Joseph O'Connor, who I'd met

363
00:17:12,200 --> 00:17:15,920
Speaker 1: in the York Mystery Plays, James Crane Cross with whom

364
00:17:15,920 --> 00:17:18,359
Speaker 1: I just worked, John Moffett, who would also become a

365
00:17:18,359 --> 00:17:23,120
Speaker 1: great friend, Roger Livesey, Elizabeth Sellers, John Standing, and John Turner.

366
00:17:23,320 --> 00:17:25,399
Speaker 1: Frank had also been a keen eye for European plays

367
00:17:25,400 --> 00:17:27,600
Speaker 1: that had never been seen in this country. I missed

368
00:17:27,600 --> 00:17:30,440
Speaker 1: Out and Three Sisters the year before when Tyrone Guthrie

369
00:17:30,440 --> 00:17:32,280
Speaker 1: had asked me to go and play Arena at his

370
00:17:32,320 --> 00:17:34,720
Speaker 1: brand new theater in Minneapolis, but I just signed the

371
00:17:34,760 --> 00:17:36,919
Speaker 1: contract with the short lifted shot in the Dock. The

372
00:17:36,960 --> 00:17:39,360
Speaker 1: Oxford production happened to be Frank's very first check off,

373
00:17:39,400 --> 00:17:42,160
Speaker 1: and it was great success. It was just like somehow,

374
00:17:42,240 --> 00:17:45,400
Speaker 1: while describing one play, you've listed four other plays, five

375
00:17:45,440 --> 00:17:46,240
Speaker 1: other theaters.

376
00:17:46,440 --> 00:17:49,199
Speaker 2: She'll talk about all the plays that everyone else in

377
00:17:49,320 --> 00:17:52,240
Speaker 2: the company did and then also all the plays that

378
00:17:52,400 --> 00:17:55,920
Speaker 2: the person directing has directed, and what's crazy about reading?

379
00:17:55,960 --> 00:18:00,240
Speaker 2: And furthermore, is it takes age apart? Really? You know,

380
00:18:00,240 --> 00:18:02,360
Speaker 2: because Dame Judy Dench, people do think of her as

381
00:18:02,600 --> 00:18:03,840
Speaker 2: Dame Judy Dech.

382
00:18:03,840 --> 00:18:05,359
Speaker 1: I mean I was thinking of her as eighty the

383
00:18:05,400 --> 00:18:05,760
Speaker 1: whole time.

384
00:18:05,800 --> 00:18:08,080
Speaker 2: Okay, that's it was. I was like, it's a little.

385
00:18:08,000 --> 00:18:11,239
Speaker 1: Less like Judged other I guess Judy is just an

386
00:18:11,280 --> 00:18:14,000
Speaker 1: old name, like Judge ju permanently.

387
00:18:13,720 --> 00:18:17,920
Speaker 2: Because Judge Judy is primarily fifty five and Dame Judy

388
00:18:18,000 --> 00:18:22,320
Speaker 2: Judge is perman seventy two, yes, seventy two to eighty two.

389
00:18:22,480 --> 00:18:24,480
Speaker 1: But she did play Ophelia, of course, and she did

390
00:18:24,520 --> 00:18:26,040
Speaker 1: have these other rules when she was younger.

391
00:18:26,200 --> 00:18:28,359
Speaker 2: Judy dunch young kind of looks like, I don't know,

392
00:18:28,400 --> 00:18:30,280
Speaker 2: almost like a more lesbian Mia.

393
00:18:30,000 --> 00:18:32,480
Speaker 1: Faraoh I one hundred percent degree.

394
00:18:32,520 --> 00:18:34,080
Speaker 2: Yes, it's a little pixie cut.

395
00:18:34,240 --> 00:18:36,680
Speaker 1: Yes, it's a bit of an upper class kind of nose,

396
00:18:36,720 --> 00:18:38,880
Speaker 1: even sort of terribly in the middle class.

397
00:18:38,920 --> 00:18:41,200
Speaker 2: I was terribly middle class. But I think because since

398
00:18:41,200 --> 00:18:45,280
Speaker 2: her parents were so theatrical, it's always this obsession with Shakespeare.

399
00:18:46,560 --> 00:18:49,120
Speaker 1: Well, I mean reading this Jakov you know, I had

400
00:18:49,119 --> 00:18:51,959
Speaker 1: to wonder. There's so many differences, right, There's the difference

401
00:18:52,000 --> 00:18:55,400
Speaker 1: between what people were like in the sixties and seventies,

402
00:18:55,400 --> 00:18:59,320
Speaker 1: and now there's the difference between America and Britain England.

403
00:18:59,520 --> 00:19:01,240
Speaker 1: And there's the difference between like being in the theater

404
00:19:01,280 --> 00:19:03,119
Speaker 1: world and not being in theater world. Because part of

405
00:19:03,160 --> 00:19:06,479
Speaker 1: you reads this and you're like, wow, Like Britain is

406
00:19:06,520 --> 00:19:10,760
Speaker 1: so much more culturally fancy than America, and they care

407
00:19:10,880 --> 00:19:13,200
Speaker 1: so much more about literature over there, and partially because

408
00:19:13,240 --> 00:19:15,000
Speaker 1: they have a history that we don't, and so like

409
00:19:15,880 --> 00:19:18,879
Speaker 1: people read Shakespeare and they read plays, and like there

410
00:19:18,960 --> 00:19:22,840
Speaker 1: is a middle class market for theater in the way

411
00:19:23,400 --> 00:19:25,800
Speaker 1: that there isn't here. Like, yes, tourists come to Broadway

412
00:19:25,840 --> 00:19:26,200
Speaker 1: and they.

413
00:19:26,119 --> 00:19:29,720
Speaker 2: Go right the mid market is like getting tickets to

414
00:19:29,840 --> 00:19:32,800
Speaker 2: Shocked and coming here and seeing Shocked, but it's like

415
00:19:32,840 --> 00:19:34,880
Speaker 2: you're saving up for Shocked the whole year.

416
00:19:34,800 --> 00:19:39,320
Speaker 1: Right, Whereas like there's literally in Birmingham, in Oxford, in Stratford,

417
00:19:39,359 --> 00:19:42,720
Speaker 1: in like smaller in York, Like in a smaller city,

418
00:19:42,880 --> 00:19:46,360
Speaker 1: there is a year round demand for Shakespeare plays. Right,

419
00:19:46,400 --> 00:19:49,000
Speaker 1: people are saying them do have like repertory theaters and

420
00:19:49,040 --> 00:19:49,640
Speaker 1: community theater.

421
00:19:50,240 --> 00:19:54,960
Speaker 2: I mean I saw a wonderful community summer stock production

422
00:19:55,040 --> 00:20:00,000
Speaker 2: of The Adams Family Musical High Yes, well I would

423
00:20:00,000 --> 00:20:01,840
Speaker 2: I actually more of that. I feel like general middle

424
00:20:01,840 --> 00:20:03,880
Speaker 2: class people go see stand up.

425
00:20:03,960 --> 00:20:07,120
Speaker 1: In America, yes, yes, yes.

426
00:20:06,800 --> 00:20:09,440
Speaker 2: And like I would see that more casually. But I

427
00:20:09,440 --> 00:20:12,040
Speaker 2: feel like when we went to England, I just got

428
00:20:12,040 --> 00:20:15,200
Speaker 2: the vibe that people were just more ready to go

429
00:20:15,320 --> 00:20:17,159
Speaker 2: see a play a play, or.

430
00:20:17,280 --> 00:20:19,520
Speaker 1: To think that there is I think just in the

431
00:20:19,600 --> 00:20:23,040
Speaker 1: national consciousness, because British national identity is more of a thing,

432
00:20:23,520 --> 00:20:25,320
Speaker 1: and British natural history and culture is more of a thing.

433
00:20:25,359 --> 00:20:27,919
Speaker 1: That like, because the way she talks about it, and

434
00:20:27,960 --> 00:20:29,560
Speaker 1: this is also maybe a fault of the book a bit,

435
00:20:29,720 --> 00:20:32,200
Speaker 1: but the way she talks about Shakespeare and all these plays,

436
00:20:32,320 --> 00:20:36,280
Speaker 1: it's as if you are She's like, so, of course

437
00:20:36,320 --> 00:20:38,760
Speaker 1: the scene when Iyago comes in, and as you know,

438
00:20:38,920 --> 00:20:42,880
Speaker 1: in the Shawlwich Theater they have a terribly terribly small

439
00:20:42,960 --> 00:20:45,119
Speaker 1: underground area for the actors to get change. You're like, no,

440
00:20:45,240 --> 00:20:47,960
Speaker 1: I actually don't know, but the narrowness of the staircase

441
00:20:48,040 --> 00:20:50,720
Speaker 1: at the Oxford Theater like that, You're actually like everyone's

442
00:20:50,760 --> 00:20:51,280
Speaker 1: familiar with.

443
00:20:51,359 --> 00:20:54,200
Speaker 2: He's talking like, how literally I'll talk about friends. I

444
00:20:54,240 --> 00:20:56,639
Speaker 2: would be like okay, but the one where they're bringing

445
00:20:56,720 --> 00:20:57,000
Speaker 2: up the.

446
00:20:56,920 --> 00:21:01,480
Speaker 1: Couch and Friends is of course and Shakespeare and it is.

447
00:21:03,080 --> 00:21:06,679
Speaker 2: No And I found myself for them quoting you know,

448
00:21:06,720 --> 00:21:09,560
Speaker 2: a Seinfeld her Friends when you're like the one where

449
00:21:10,040 --> 00:21:12,880
Speaker 2: you know, when Jerry visits his parents in Florida. It's

450
00:21:12,880 --> 00:21:15,480
Speaker 2: these simple things that happen in life that I will

451
00:21:15,520 --> 00:21:17,520
Speaker 2: refer to an American sitcom m hm.

452
00:21:17,840 --> 00:21:19,840
Speaker 1: And that isn't to be ashamed of you. No, I'm

453
00:21:19,880 --> 00:21:21,960
Speaker 1: not ashamed of it all, because that is also culture.

454
00:21:22,080 --> 00:21:24,520
Speaker 1: And as you know, it is so difficult to play

455
00:21:24,520 --> 00:21:25,560
Speaker 1: in a sitcom.

456
00:21:25,200 --> 00:21:28,800
Speaker 2: As she says, because it's the timing and also they rehearsed.

457
00:21:28,800 --> 00:21:31,359
Speaker 2: She goes, then you've rehearsed and you're only rehearsing for

458
00:21:31,359 --> 00:21:33,480
Speaker 2: a few hours, and she was also when she does

459
00:21:33,480 --> 00:21:36,760
Speaker 2: as time goes by and the director's like, okay, we're

460
00:21:36,760 --> 00:21:38,720
Speaker 2: like done for the day, and she's like, aren't we

461
00:21:38,760 --> 00:21:41,400
Speaker 2: going to rehearse for like thirteen more hours? And he's

462
00:21:41,440 --> 00:21:42,960
Speaker 2: like no, I don't want.

463
00:21:43,000 --> 00:21:43,399
Speaker 1: Like you got it.

464
00:21:43,440 --> 00:21:46,119
Speaker 2: We're wrapped god, and we're rapping. We're moving on, like

465
00:21:46,160 --> 00:21:49,880
Speaker 2: I don't want you to get stale. And she's like, oh, okay.

466
00:21:49,960 --> 00:21:51,840
Speaker 1: I think One of the other reasons that comedy is

467
00:21:51,840 --> 00:21:54,960
Speaker 1: actually more difficult than drama is because I think that

468
00:21:55,160 --> 00:21:58,400
Speaker 1: the range of choices that can laugh is actually maybe

469
00:21:58,440 --> 00:22:01,720
Speaker 1: a narrow range, whereas it's like you can see like, well,

470
00:22:01,760 --> 00:22:03,879
Speaker 1: I chose to do it that way, like because it

471
00:22:03,880 --> 00:22:05,720
Speaker 1: doesn't need to get a reaction, but if it doesn't

472
00:22:05,760 --> 00:22:07,879
Speaker 1: get a laugh, then it literally doesn't. It does, and

473
00:22:07,920 --> 00:22:09,960
Speaker 1: so like it needs to be funny, and like the

474
00:22:10,040 --> 00:22:11,600
Speaker 1: drama doesn't have that demand.

475
00:22:12,359 --> 00:22:15,440
Speaker 2: She says this very interesting thing when she directs a

476
00:22:15,480 --> 00:22:17,719
Speaker 2: play for the first time, which I found quite interesting,

477
00:22:17,760 --> 00:22:21,159
Speaker 2: and she was like, I'm directing, so now I know

478
00:22:21,240 --> 00:22:24,080
Speaker 2: how to act. Because she's like, when you're an actor,

479
00:22:24,240 --> 00:22:26,760
Speaker 2: you know, you all leave the stage and you go

480
00:22:26,960 --> 00:22:29,119
Speaker 2: talk shit about the director at the pub, you know,

481
00:22:29,160 --> 00:22:29,600
Speaker 2: said the.

482
00:22:29,520 --> 00:22:31,960
Speaker 1: Boss yes, and now you're a mean mommy.

483
00:22:31,800 --> 00:22:34,520
Speaker 2: Yeah, mean mommy. And then now she's the director, she's like, Oh,

484
00:22:34,520 --> 00:22:36,240
Speaker 2: I thought I could just go home and now have

485
00:22:36,320 --> 00:22:36,640
Speaker 2: a night.

486
00:22:36,840 --> 00:22:38,720
Speaker 1: But then she came home and she goes, it's seven

487
00:22:38,800 --> 00:22:40,879
Speaker 1: oh five, and I'm thinking, oh, they're going on right now,

488
00:22:40,880 --> 00:22:42,720
Speaker 1: aren't they? Because I guess when you're the director, you

489
00:22:42,720 --> 00:22:44,159
Speaker 1: don't go see it every night if it's up for

490
00:22:44,240 --> 00:22:45,640
Speaker 1: like eight nights a week, like right.

491
00:22:45,840 --> 00:22:48,960
Speaker 2: But and then she also says, oh, and now I

492
00:22:49,080 --> 00:22:52,080
Speaker 2: know how to talk to a director, because the director

493
00:22:52,119 --> 00:22:55,399
Speaker 2: has to be noticing every single thing someone's doing.

494
00:22:55,200 --> 00:22:58,640
Speaker 1: Well, and she immediately can tell when actors are lying

495
00:22:59,040 --> 00:23:01,080
Speaker 1: when they're always like, but I've been working on this

496
00:23:01,160 --> 00:23:03,800
Speaker 1: all night. And then of course you haven't been working

497
00:23:03,800 --> 00:23:05,520
Speaker 1: on it all night at all. You don't know your

498
00:23:05,520 --> 00:23:09,320
Speaker 1: lines cold, and now she can see through them.

499
00:23:09,800 --> 00:23:12,880
Speaker 2: And then now she realizes, you know, when you're begging

500
00:23:12,920 --> 00:23:15,919
Speaker 2: and harassing the director how it feels. And she's like,

501
00:23:16,040 --> 00:23:18,400
Speaker 2: when you're an actor, you come to rehearsal and you're like,

502
00:23:18,560 --> 00:23:20,439
Speaker 2: I'm gonna do this new thing where I looked at

503
00:23:20,440 --> 00:23:23,320
Speaker 2: the left and it's gonna like shake everyone's bottom so much,

504
00:23:23,560 --> 00:23:25,560
Speaker 2: and you want the director to notice.

505
00:23:26,200 --> 00:23:28,760
Speaker 1: I missed the theater. I miss it terribly, but I'm

506
00:23:28,800 --> 00:23:31,760
Speaker 1: back to it, Darling. I actually a dream last week

507
00:23:32,000 --> 00:23:33,399
Speaker 1: that I was doing a play and went up on

508
00:23:33,440 --> 00:23:34,720
Speaker 1: my lines. Isn't that crazy?

509
00:23:34,960 --> 00:23:37,320
Speaker 2: That's actually not that crazy? Okay, A Giguy had a

510
00:23:37,400 --> 00:23:43,280
Speaker 2: dream he was in a play. I'm shocked.

511
00:23:43,640 --> 00:23:48,080
Speaker 1: Celebrity book club.

512
00:23:54,320 --> 00:23:58,840
Speaker 2: Slabty book club memorization as someone who did a lot

513
00:23:58,840 --> 00:24:01,240
Speaker 2: of high school theater, and how they did any high

514
00:24:01,240 --> 00:24:03,719
Speaker 2: school theater, it always felt the scariest.

515
00:24:03,200 --> 00:24:05,280
Speaker 1: Thing that you're going to go up on your lines

516
00:24:05,600 --> 00:24:06,320
Speaker 1: saying yeah.

517
00:24:06,240 --> 00:24:08,000
Speaker 2: Business, and then it takes you out of the acting.

518
00:24:08,119 --> 00:24:09,480
Speaker 1: And that's why you have to do it cold before

519
00:24:09,480 --> 00:24:11,040
Speaker 1: you can do it. No, I mean, she says at

520
00:24:11,040 --> 00:24:14,760
Speaker 1: one point, she's like, I memorize my lines by osmosis.

521
00:24:15,320 --> 00:24:16,720
Speaker 1: She's like, I don't know how it happens. It just

522
00:24:16,760 --> 00:24:20,879
Speaker 1: kind of happens. Whereas like my husband Michael, who is

523
00:24:20,920 --> 00:24:24,800
Speaker 1: also an actor, is like up all night in the bathtub,

524
00:24:24,800 --> 00:24:30,119
Speaker 1: book the line in the garden, just like working so

525
00:24:30,320 --> 00:24:31,600
Speaker 1: hard to memorize those lines.

526
00:24:31,640 --> 00:24:34,320
Speaker 2: Called When I do memorize, say for a show something,

527
00:24:34,359 --> 00:24:36,080
Speaker 2: if I have a poem or a pot or a

528
00:24:36,119 --> 00:24:38,840
Speaker 2: small television pot, I read it over and over and

529
00:24:38,880 --> 00:24:41,160
Speaker 2: over and over and over, and then I walk around

530
00:24:41,160 --> 00:24:43,960
Speaker 2: and I'm talking it and then go back to reading

531
00:24:44,000 --> 00:24:45,200
Speaker 2: it over and book.

532
00:24:45,240 --> 00:24:47,000
Speaker 1: There I feel like you can go off book pretty quickly.

533
00:24:47,240 --> 00:24:49,399
Speaker 2: I'm saying, in high school I was you were more terrible,

534
00:24:49,440 --> 00:24:51,160
Speaker 2: But now I think I'm much better at it.

535
00:24:51,200 --> 00:24:53,080
Speaker 1: For the play that I was in recently, I don't

536
00:24:53,160 --> 00:24:55,600
Speaker 1: I believe you weren't there. We missed it.

537
00:24:56,320 --> 00:24:58,880
Speaker 2: It was sold out and notices was so amazing.

538
00:25:00,160 --> 00:25:02,720
Speaker 1: M filled out. It was limited run. But I did

539
00:25:02,760 --> 00:25:07,600
Speaker 1: this thing where I recorded myself doing the part like

540
00:25:07,640 --> 00:25:10,000
Speaker 1: as an MP three, and so then I was like

541
00:25:10,080 --> 00:25:12,560
Speaker 1: listening to it in my head. So I'm listening to

542
00:25:12,640 --> 00:25:14,679
Speaker 1: my performance of it and then just like mouthing the

543
00:25:14,720 --> 00:25:16,360
Speaker 1: lines along with myself in my ear.

544
00:25:16,600 --> 00:25:18,400
Speaker 2: Okay, interesting, yeah.

545
00:25:18,119 --> 00:25:20,200
Speaker 1: Which was quite useful actually, And then I could be

546
00:25:20,200 --> 00:25:22,720
Speaker 1: at the gym just like listening to my own voice.

547
00:25:22,920 --> 00:25:25,400
Speaker 1: The dream isn't it is the dream? Likely? I also

548
00:25:25,480 --> 00:25:26,600
Speaker 1: have a podcast allows.

549
00:25:26,320 --> 00:25:30,439
Speaker 2: Me Yes Talk Talk Dot Talk osmosis. Oh and by

550
00:25:30,480 --> 00:25:32,600
Speaker 2: the way, we listened to I would say half of

551
00:25:32,600 --> 00:25:34,960
Speaker 2: this book, if not all on auto.

552
00:25:35,080 --> 00:25:36,960
Speaker 1: I did the entire thing audio because I literally could

553
00:25:36,960 --> 00:25:38,639
Speaker 1: not find this the library. It's a hot item.

554
00:25:38,880 --> 00:25:40,639
Speaker 2: Yeah, I did find it my.

555
00:25:41,480 --> 00:25:43,840
Speaker 1: Fellow British actress Samantha Bond.

556
00:25:44,359 --> 00:25:48,040
Speaker 2: And you lose yourself in the middle of the audio

557
00:25:48,119 --> 00:25:50,560
Speaker 2: where you just kind of assume it's Judy because you're like, well,

558
00:25:50,560 --> 00:25:55,480
Speaker 2: it's just something British and it's so interesting. How could

559
00:25:55,520 --> 00:25:59,760
Speaker 2: she mentions Samantha Bond throughout the book? Right? Little things.

560
00:26:00,119 --> 00:26:03,119
Speaker 1: Was Samantha bombing she's leaving little easter eggs, Well, she

561
00:26:03,160 --> 00:26:07,320
Speaker 1: loves Easter eggs. I mean the glove, the glove, the glove,

562
00:26:07,880 --> 00:26:11,040
Speaker 1: her long running high jink with that other actor where

563
00:26:11,040 --> 00:26:12,800
Speaker 1: they always give each other a black.

564
00:26:13,280 --> 00:26:14,720
Speaker 2: Of a practical joke.

565
00:26:14,760 --> 00:26:16,600
Speaker 1: It's a big practical joker, which is also a thing

566
00:26:16,600 --> 00:26:18,360
Speaker 1: that I think actors maybe don't do anymore.

567
00:26:18,400 --> 00:26:21,080
Speaker 2: But well, it's like American actors will be so like

568
00:26:22,320 --> 00:26:24,320
Speaker 2: George Clooney will.

569
00:26:24,240 --> 00:26:26,600
Speaker 1: Just like he got everyone in a whoopee cushion, like

570
00:26:26,600 --> 00:26:27,919
Speaker 1: at the rap party or whatever.

571
00:26:28,280 --> 00:26:31,880
Speaker 2: And it's always like Ryan Reynolds did the craziest thing

572
00:26:32,119 --> 00:26:38,480
Speaker 2: on the set of Migration, like Barnyard five, but.

573
00:26:38,520 --> 00:26:41,800
Speaker 1: This is more like intellectual and rebald and yet also

574
00:26:41,880 --> 00:26:43,880
Speaker 1: so physical, where it's like she and this other actor

575
00:26:43,920 --> 00:26:46,800
Speaker 1: have this thing where they have to like somehow surprise

576
00:26:46,920 --> 00:26:49,160
Speaker 1: each other in a live performance with like a black

577
00:26:49,240 --> 00:26:52,399
Speaker 1: leather glove, and like it goes on for years and

578
00:26:52,520 --> 00:26:54,240
Speaker 1: years and year, always.

579
00:26:53,960 --> 00:26:55,639
Speaker 2: Just being black leather glove, black leather, and.

580
00:26:55,640 --> 00:26:57,480
Speaker 1: Then it's always showing up like in a bouquet of

581
00:26:57,480 --> 00:26:59,520
Speaker 1: flowers that's supposed to like be on stage, and when

582
00:26:59,560 --> 00:27:01,720
Speaker 1: that product and when the other one is doing like

583
00:27:01,880 --> 00:27:05,000
Speaker 1: on West End. And then there's the time later on

584
00:27:05,640 --> 00:27:09,520
Speaker 1: when like the guy who always has the gag with

585
00:27:09,560 --> 00:27:12,959
Speaker 1: her gets Kevin Spacey on the side of the shippy

586
00:27:13,040 --> 00:27:15,959
Speaker 1: news but they're filming in Nova Scotia, and then Judy

587
00:27:16,119 --> 00:27:19,560
Speaker 1: is like has to go use this outhouse for a scene,

588
00:27:19,560 --> 00:27:22,239
Speaker 1: and she's like peeing in an outhouse. And then like

589
00:27:22,560 --> 00:27:26,040
Speaker 1: Kevin Spacey, being creep that he is, puts a black

590
00:27:26,040 --> 00:27:28,760
Speaker 1: glove on a broomstick, sticks it under the hole and

591
00:27:28,800 --> 00:27:32,000
Speaker 1: like tickles her bum with the glove, and she literally

592
00:27:32,160 --> 00:27:32,920
Speaker 1: be creepier.

593
00:27:35,600 --> 00:27:38,800
Speaker 2: Can you imagine doing that to danger to Dutch? Putting

594
00:27:38,840 --> 00:27:41,520
Speaker 2: a black glove on a broom and tickling her bum

595
00:27:41,520 --> 00:27:43,680
Speaker 2: while she's in the outhouse takes balls.

596
00:27:44,400 --> 00:27:48,439
Speaker 1: It takes bulls to tickle a day.

597
00:27:48,520 --> 00:27:52,320
Speaker 2: It's so crazy because also there like are such big

598
00:27:52,359 --> 00:27:55,720
Speaker 2: moments in her life that she really passes over in

599
00:27:55,800 --> 00:27:58,399
Speaker 2: the book because she's too busy listing place.

600
00:27:58,400 --> 00:27:59,959
Speaker 1: She's committed to craft.

601
00:28:00,560 --> 00:28:04,479
Speaker 2: She's just being like, well, so the day of course

602
00:28:04,520 --> 00:28:07,399
Speaker 2: that we were opening at like Sir Bauchlat was of

603
00:28:07,440 --> 00:28:11,359
Speaker 2: course the day I did get damed. She's just like

604
00:28:11,520 --> 00:28:14,879
Speaker 2: I went to go get damed and for an afternoon.

605
00:28:14,359 --> 00:28:16,399
Speaker 1: And it's half the Dame story talking about how there

606
00:28:16,440 --> 00:28:20,000
Speaker 1: was that other like redheaded Scotsman who is getting knighted

607
00:28:20,359 --> 00:28:22,960
Speaker 1: for helping those poor moms on the ferry, and like

608
00:28:23,080 --> 00:28:24,920
Speaker 1: also as if we all know but like the great

609
00:28:24,960 --> 00:28:28,840
Speaker 1: Aberdeen Fairy disaster of nineteen eighty one, and we're just like, oh,

610
00:28:28,920 --> 00:28:30,440
Speaker 1: well on you, maight, well on you.

611
00:28:30,960 --> 00:28:32,960
Speaker 2: But yeah, she's never which is I feel like, very

612
00:28:33,040 --> 00:28:33,800
Speaker 2: dame behavior.

613
00:28:33,880 --> 00:28:36,400
Speaker 1: She's not like she literally only cares about the work

614
00:28:36,440 --> 00:28:37,680
Speaker 1: and that's why her work is so good.

615
00:28:37,760 --> 00:28:39,600
Speaker 2: She's not being like, can you believe I was damed?

616
00:28:39,760 --> 00:28:42,720
Speaker 1: But so she starts dating this other actor, Michael, and

617
00:28:42,760 --> 00:28:44,760
Speaker 1: they're both in productions and they're like at Oxford and

618
00:28:44,760 --> 00:28:47,880
Speaker 1: at Stratford. And she does not talk about a personal

619
00:28:47,880 --> 00:28:49,560
Speaker 1: life pretty much at all in this book. Now, she

620
00:28:49,600 --> 00:28:53,200
Speaker 1: does never reference having sex. She does reference a reporter

621
00:28:53,360 --> 00:28:56,760
Speaker 1: asking her once when she lost her virginity and she's.

622
00:28:56,760 --> 00:28:57,840
Speaker 3: So so pissed.

623
00:28:57,840 --> 00:29:00,320
Speaker 2: She's just being like, and that was the life last

624
00:29:00,320 --> 00:29:05,160
Speaker 2: time a reporter has ever ever asked me a personal question.

625
00:29:05,360 --> 00:29:08,920
Speaker 2: These tabloids. But which is funny because Britain has like

626
00:29:09,120 --> 00:29:10,680
Speaker 2: the naughtiest tabloads of them.

627
00:29:10,520 --> 00:29:13,840
Speaker 1: All and she's still bald and is doing like bum

628
00:29:13,960 --> 00:29:15,080
Speaker 1: tickling gags.

629
00:29:15,280 --> 00:29:17,520
Speaker 2: Here's the thing, if we can, I just want to

630
00:29:17,560 --> 00:29:19,680
Speaker 2: close the thread on the gag for a second, Like

631
00:29:19,720 --> 00:29:25,320
Speaker 2: I do think Americans do like crazier gags, probably actually

632
00:29:25,440 --> 00:29:29,360
Speaker 2: in films than like her just being like me and

633
00:29:29,400 --> 00:29:31,920
Speaker 2: this actor put on a black glove for forty years,

634
00:29:32,240 --> 00:29:36,160
Speaker 2: because it's like un Dan Vita were like filling cigars with.

635
00:29:36,240 --> 00:29:39,200
Speaker 1: Red on I know, and what Valcmore did that thing

636
00:29:39,200 --> 00:29:41,200
Speaker 1: to Tom Cruise or whatever that like Tom Cruise did

637
00:29:41,240 --> 00:29:41,640
Speaker 1: not like.

638
00:29:41,840 --> 00:29:45,800
Speaker 2: It usually has to do with drugs and alcohol and chip.

639
00:29:45,880 --> 00:29:48,000
Speaker 1: But I also think that maybe that that's just not

640
00:29:48,240 --> 00:29:49,400
Speaker 1: done that much anymore.

641
00:29:49,640 --> 00:29:53,360
Speaker 2: And it's like I think it was very nineties heyday blockbuster.

642
00:29:53,120 --> 00:29:55,760
Speaker 1: And like I don't think that people would be sued.

643
00:29:55,840 --> 00:30:00,280
Speaker 1: No die Is Gomez, frankings.

644
00:29:59,440 --> 00:30:06,560
Speaker 2: And pranking Shalime on the dune set, no living the

645
00:30:06,640 --> 00:30:08,440
Speaker 2: eighties and nineties and kind.

646
00:30:08,240 --> 00:30:11,720
Speaker 1: Of more high jinks. Those were the Hydrinks decade.

647
00:30:11,720 --> 00:30:14,840
Speaker 2: But no, I could tell when the marriage part was

648
00:30:14,880 --> 00:30:17,360
Speaker 2: coming because she's just listening play listening, play listening player

649
00:30:17,360 --> 00:30:19,400
Speaker 2: and then she's just like so British. She goes and

650
00:30:19,440 --> 00:30:22,800
Speaker 2: then something quite nice happened in my personal life and

651
00:30:22,880 --> 00:30:25,680
Speaker 2: my personal life, and I met Michael and we were

652
00:30:25,720 --> 00:30:29,920
Speaker 2: she's basically just like well, and then we started spending.

653
00:30:29,640 --> 00:30:31,880
Speaker 1: More time together, like she was always using metaphor and

654
00:30:31,920 --> 00:30:34,520
Speaker 1: just being like and he would come after every performance

655
00:30:34,560 --> 00:30:37,720
Speaker 1: to the pub and it was such a hilarious practical

656
00:30:37,840 --> 00:30:40,080
Speaker 1: joke that he came to a different pub and said

657
00:30:40,120 --> 00:30:42,680
Speaker 1: the name of the other pub one time, we always

658
00:30:42,800 --> 00:30:46,160
Speaker 1: went to pub. And so then they're in Australia, like

659
00:30:46,200 --> 00:30:48,720
Speaker 1: touring with the World Shakespeare Company, and he proposes in

660
00:30:48,880 --> 00:30:51,440
Speaker 1: Adelaide and she knows it's going to happen, and then

661
00:30:51,480 --> 00:30:54,280
Speaker 1: she goes, no, you can't do it now. The weather's

662
00:30:54,360 --> 00:30:56,760
Speaker 1: too nice. You must have went back in England and

663
00:30:56,840 --> 00:30:58,920
Speaker 1: it's rainy, because Hanna, no, it's real.

664
00:30:58,880 --> 00:31:02,120
Speaker 2: So British, right, He's not just swept up by the

665
00:31:02,240 --> 00:31:04,440
Speaker 2: amazing Adelaide.

666
00:31:03,800 --> 00:31:05,000
Speaker 1: Weather, which I kind of loved.

667
00:31:05,240 --> 00:31:07,560
Speaker 2: And then the other kind of personal part in the

668
00:31:07,600 --> 00:31:11,000
Speaker 2: marriage is basically they get this castle in England and

669
00:31:11,120 --> 00:31:13,360
Speaker 2: they move in both of their parents.

670
00:31:13,480 --> 00:31:15,800
Speaker 1: And then she goes like she rarely gets political, but

671
00:31:15,840 --> 00:31:17,600
Speaker 1: then she has this huge opinion and she's just like,

672
00:31:17,880 --> 00:31:21,240
Speaker 1: it's terrible and shameful when people put their parents in

673
00:31:21,280 --> 00:31:24,560
Speaker 1: a home, and anyone who has the ability to should

674
00:31:24,600 --> 00:31:26,280
Speaker 1: stay with their parents and take care of then as

675
00:31:26,320 --> 00:31:28,440
Speaker 1: they took care of you as children. And I can

676
00:31:28,440 --> 00:31:30,840
Speaker 1: think of nothing better than us all living together and

677
00:31:30,920 --> 00:31:31,760
Speaker 1: Surrey as a family.

678
00:31:32,080 --> 00:31:34,800
Speaker 2: And she's being like all she was like, we had

679
00:31:34,840 --> 00:31:37,000
Speaker 2: the most fun we have ever had. But then she

680
00:31:37,040 --> 00:31:40,760
Speaker 2: goes and of course I was sobbing alone in the

681
00:31:40,800 --> 00:31:45,200
Speaker 2: bathroom each week, but the fun outweighed the sobbing, and

682
00:31:45,240 --> 00:31:47,400
Speaker 2: it's like, okay, it sounded like you actually were being

683
00:31:47,440 --> 00:31:50,560
Speaker 2: so like Emily Gould vibes and like in the bathroom

684
00:31:50,720 --> 00:31:53,840
Speaker 2: in your like stone cottage, like sobbing, being like I'm

685
00:31:53,840 --> 00:31:56,920
Speaker 2: gonna fucking kill my mother in law. And I'm sure

686
00:31:56,960 --> 00:32:04,280
Speaker 2: she's stepping out of being like onwards, Oh, pot of tea, anyone,

687
00:32:04,400 --> 00:32:07,080
Speaker 2: I'm going to go to the garden to rehearse my lines.

688
00:32:07,440 --> 00:32:09,640
Speaker 2: And then she's like and then I did get pregnant,

689
00:32:09,680 --> 00:32:12,480
Speaker 2: and then like so British, her daughter is name just

690
00:32:12,520 --> 00:32:14,200
Speaker 2: like Tricia, but they call her Finty.

691
00:32:14,600 --> 00:32:16,880
Speaker 1: I'm just like, wow, I can't think of like a

692
00:32:17,040 --> 00:32:21,240
Speaker 1: less beautiful name for girls. Actually, I mean, I guess

693
00:32:21,240 --> 00:32:23,240
Speaker 1: it's kind of cool. It's a little tomboy.

694
00:32:23,480 --> 00:32:25,560
Speaker 2: Yeah, yess No, she's a redhead too, and she has

695
00:32:25,600 --> 00:32:29,240
Speaker 2: this kind of like rough and tumble scrapes. Yes, it's

696
00:32:29,280 --> 00:32:31,880
Speaker 2: redhead grand same red head.

697
00:32:32,000 --> 00:32:34,200
Speaker 1: Cricket always in the trees.

698
00:32:34,640 --> 00:32:37,200
Speaker 2: And you know another personal thing that happens to her,

699
00:32:37,200 --> 00:32:40,560
Speaker 2: it's quite sae. Basically, Finty is having a slumper party

700
00:32:40,560 --> 00:32:42,360
Speaker 2: of the castle.

701
00:32:42,320 --> 00:32:46,000
Speaker 1: And leaves a candle burning because it's seventeen oh.

702
00:32:45,840 --> 00:32:49,320
Speaker 2: Five, and her and her gals, who knows what they're doing,

703
00:32:49,360 --> 00:32:52,600
Speaker 2: and well the file starts, Yes, they lose the home.

704
00:32:52,640 --> 00:32:54,840
Speaker 2: All the girls, of course were slumbery downstairs. I thank

705
00:32:54,840 --> 00:32:55,840
Speaker 2: god they're okay.

706
00:32:55,520 --> 00:32:57,920
Speaker 1: But okrazy. The fire department came put it out and

707
00:32:57,960 --> 00:32:59,560
Speaker 1: then it like went back up again later.

708
00:32:59,680 --> 00:33:02,000
Speaker 2: I mean those old homes, and that's why I'm not

709
00:33:02,040 --> 00:33:03,360
Speaker 2: buying a country.

710
00:33:03,000 --> 00:33:04,560
Speaker 1: Castle, because of all the old timber.

711
00:33:04,680 --> 00:33:07,440
Speaker 2: Well remember and you know what a woman I used

712
00:33:07,440 --> 00:33:09,240
Speaker 2: to clean for said, do you want to buy my

713
00:33:09,320 --> 00:33:10,640
Speaker 2: chateau in the south of France?

714
00:33:10,720 --> 00:33:15,360
Speaker 1: And you said I would, but I can't because it's Yeah.

715
00:33:15,400 --> 00:33:17,320
Speaker 2: Now, I didn't have the funds together at the moment,

716
00:33:17,400 --> 00:33:21,040
Speaker 2: but I also didn't know. Yeah, and then Michael sadly

717
00:33:21,080 --> 00:33:24,040
Speaker 2: does get the cancer pass.

718
00:33:24,360 --> 00:33:26,440
Speaker 1: But then he gets like knighted by the Pope the

719
00:33:26,520 --> 00:33:29,440
Speaker 1: day before he dies, and she's like, at that point

720
00:33:29,480 --> 00:33:31,600
Speaker 1: he could no longer travel to London, and so we

721
00:33:31,640 --> 00:33:34,520
Speaker 1: did like the night ship like at home, and he

722
00:33:34,600 --> 00:33:37,400
Speaker 1: said to me, I wish I could have a rerun

723
00:33:37,400 --> 00:33:40,720
Speaker 1: of this day forever, and she goes me too. He

724
00:33:40,840 --> 00:33:43,400
Speaker 1: died the next day and then she's off and she's like,

725
00:33:43,440 --> 00:33:46,480
Speaker 1: and then I shot Tomorrow and Never Died with Jonathan Madden.

726
00:33:46,240 --> 00:33:48,480
Speaker 2: And she's like, and I actually hated the way Jonathan

727
00:33:48,520 --> 00:33:51,880
Speaker 2: Madden directed. That was tea that she Yeah, she really

728
00:33:51,920 --> 00:33:52,400
Speaker 2: goes off.

729
00:33:53,320 --> 00:33:55,960
Speaker 1: She loves everyone, but she was like the director of

730
00:33:56,000 --> 00:33:58,480
Speaker 1: Tomorrow and Ever dies like, I fully hate it, which

731
00:33:58,520 --> 00:34:01,040
Speaker 1: is an amazing bound film which is all about the

732
00:34:01,040 --> 00:34:02,800
Speaker 1: media and has the sort of rupe murder character has

733
00:34:02,800 --> 00:34:04,320
Speaker 1: the villain and Cheryl crowt is the theme song.

734
00:34:04,440 --> 00:34:08,080
Speaker 2: The Cheryl Crow theme song is so good. That's kind

735
00:34:08,080 --> 00:34:10,279
Speaker 2: of the funny things about film is you never know

736
00:34:10,440 --> 00:34:11,040
Speaker 2: the drama.

737
00:34:11,200 --> 00:34:12,960
Speaker 1: You never know what's going on. Wait, so this is

738
00:34:12,960 --> 00:34:14,440
Speaker 1: the thing where he sends a car for her, but

739
00:34:14,480 --> 00:34:16,080
Speaker 1: there's like a Lory breaks.

740
00:34:15,800 --> 00:34:16,759
Speaker 2: Down, So there's a Lloyd break.

741
00:34:16,840 --> 00:34:18,839
Speaker 1: There's like a Lori traffic and she's late, but then

742
00:34:18,880 --> 00:34:20,319
Speaker 1: he's so mad at her for being late, and it's

743
00:34:20,320 --> 00:34:21,680
Speaker 1: like it's literally, Dame Judy Dench.

744
00:34:22,120 --> 00:34:25,040
Speaker 2: He's so crazy. It's like, Okay, you're just a director.

745
00:34:25,320 --> 00:34:27,080
Speaker 1: You're a random director who's like, who.

746
00:34:27,000 --> 00:34:29,640
Speaker 2: Got the sequel? Yes, it's an amazing film, but like.

747
00:34:29,600 --> 00:34:32,920
Speaker 1: You're making like a big budget, a non prestige like Blockbus,

748
00:34:33,080 --> 00:34:33,480
Speaker 1: and you're.

749
00:34:33,400 --> 00:34:35,840
Speaker 2: Yelling at Dame Judy Dench for being caught in traffic.

750
00:34:35,920 --> 00:34:40,279
Speaker 2: I was like, only a manly man wouldn't do that,

751
00:34:40,360 --> 00:34:42,359
Speaker 2: but it's insane. So she calls, like, you know, one

752
00:34:42,360 --> 00:34:44,360
Speaker 2: of the production people and she's like, we're in a

753
00:34:44,400 --> 00:34:47,319
Speaker 2: lory accident, and he like still freaks out on her.

754
00:34:47,760 --> 00:34:50,000
Speaker 2: But then another thing that he would do and she hates,

755
00:34:50,520 --> 00:34:53,719
Speaker 2: which is very on theater like and very film and

756
00:34:53,760 --> 00:34:56,840
Speaker 2: the constant Hollywood of changing is that they would shoot

757
00:34:56,840 --> 00:34:58,839
Speaker 2: a scene she gets home at ten pm, she's learning

758
00:34:58,840 --> 00:35:01,160
Speaker 2: her lines for the next day, and then at ten

759
00:35:01,280 --> 00:35:03,680
Speaker 2: thirty pm he would deliver a whole new set of

760
00:35:03,719 --> 00:35:06,160
Speaker 2: scripts or rewrites, and she would have to be on

761
00:35:06,200 --> 00:35:07,279
Speaker 2: set of five am.

762
00:35:07,080 --> 00:35:09,759
Speaker 1: At the same time. Though it's like she's not in

763
00:35:09,880 --> 00:35:11,799
Speaker 1: every scene of the movie. I'm a little bit like

764
00:35:12,080 --> 00:35:14,800
Speaker 1: em is only in three scenes, so it's like it's.

765
00:35:14,800 --> 00:35:18,560
Speaker 2: Very changing from just a Hello Bond to like bond

766
00:35:20,800 --> 00:35:23,080
Speaker 2: You're not going to Russia, And she's just like, oh,

767
00:35:23,360 --> 00:35:24,440
Speaker 2: these rewrites are off.

768
00:35:24,920 --> 00:35:27,520
Speaker 1: Is like, I think you can handle the rewrite of

769
00:35:27,600 --> 00:35:31,880
Speaker 1: Hello Bond to Bond. She does have this kind of

770
00:35:32,040 --> 00:35:35,400
Speaker 1: fun feminist streak to her where she's always like ribbing

771
00:35:35,520 --> 00:35:37,600
Speaker 1: men and like she's a lover of men, and she's

772
00:35:37,640 --> 00:35:40,840
Speaker 1: a mayer of you know, great male playwrights and directors.

773
00:35:41,239 --> 00:35:43,680
Speaker 1: But she also like loves her fellow dames, and she

774
00:35:43,840 --> 00:35:46,160
Speaker 1: likes that like to kind of like take one down

775
00:35:46,160 --> 00:35:49,320
Speaker 1: when their egos are so fragile. And whenever she sees

776
00:35:49,320 --> 00:35:52,080
Speaker 1: that someone has like a weakness, she likes to exploit

777
00:35:52,120 --> 00:35:55,160
Speaker 1: it because like, ultimately it brings everyone closer together.

778
00:35:55,320 --> 00:35:59,040
Speaker 2: I think honestly her best point in this entire book.

779
00:35:59,080 --> 00:36:02,080
Speaker 2: And furthermore, when she's talking about directing and she's talking

780
00:36:02,080 --> 00:36:04,960
Speaker 2: about humor, I think, again, with the situation of coms,

781
00:36:05,000 --> 00:36:08,160
Speaker 2: humor is a throwaway. But she's like, when you're giving

782
00:36:08,200 --> 00:36:11,640
Speaker 2: critiques to people, the only actual way to get through

783
00:36:11,680 --> 00:36:15,200
Speaker 2: to someone is humor, because then they'll change if you

784
00:36:15,280 --> 00:36:17,680
Speaker 2: make someone laugh. They can see your point, yes, but

785
00:36:17,719 --> 00:36:20,719
Speaker 2: if you're just critical to them, yes, someone gets defensive

786
00:36:20,760 --> 00:36:21,319
Speaker 2: and they're like.

787
00:36:22,480 --> 00:36:25,160
Speaker 1: You have to get them on your side and humor.

788
00:36:25,200 --> 00:36:26,520
Speaker 1: That's how you do that on a set. And that's

789
00:36:26,520 --> 00:36:29,200
Speaker 1: why she loved working with Past Boston. They had a great,

790
00:36:29,840 --> 00:36:32,120
Speaker 1: amazing sense of very self deprecating.

791
00:36:32,200 --> 00:36:34,279
Speaker 2: Do you think piss Boson is a homosexual dog?

792
00:36:34,400 --> 00:36:35,000
Speaker 1: Absolutely not.

793
00:36:36,040 --> 00:36:37,480
Speaker 2: I think he's firing.

794
00:36:37,960 --> 00:36:39,719
Speaker 1: There's an a gay bone in his body. I don't

795
00:36:39,760 --> 00:36:43,000
Speaker 1: really see that for him. Wait just to circle back

796
00:36:43,080 --> 00:36:46,359
Speaker 1: one second about forgetting lines. When she forgets that one

797
00:36:46,400 --> 00:36:49,239
Speaker 1: line and the importance of being earnest, and then a

798
00:36:49,320 --> 00:36:54,000
Speaker 1: theater goer writes her letter that says, you ruined my Christmas.

799
00:36:54,560 --> 00:36:58,279
Speaker 2: The theater goers in England are so crazy, Like there's

800
00:36:58,280 --> 00:37:02,440
Speaker 2: this one role where she smokes during it, and I

801
00:37:02,440 --> 00:37:04,719
Speaker 2: think this result of what happens when actors get so

802
00:37:05,080 --> 00:37:08,200
Speaker 2: famous that you are the person.

803
00:37:08,600 --> 00:37:10,920
Speaker 1: Oh they think that she smokes by the yeah characters.

804
00:37:10,680 --> 00:37:13,560
Speaker 2: Oh, it's she's an absolute hell. In nineteen ninety.

805
00:37:13,280 --> 00:37:15,400
Speaker 1: Five, Oh, which is one of her favorite plays. And

806
00:37:15,680 --> 00:37:17,440
Speaker 1: if I could be in it every day.

807
00:37:17,160 --> 00:37:20,399
Speaker 2: She is smoking and people believe in the theater were

808
00:37:20,440 --> 00:37:23,760
Speaker 2: like we're disgusted. They were like, I can't believe Judy

809
00:37:23,920 --> 00:37:26,320
Speaker 2: was smoking like she was that they couldn't get it.

810
00:37:26,400 --> 00:37:28,359
Speaker 2: She was like, I was acting you at the.

811
00:37:28,239 --> 00:37:31,560
Speaker 1: Theater, right, And like there's this mix of the theatergoers

812
00:37:31,600 --> 00:37:36,040
Speaker 1: being incredibly informed and like very very familiar with all

813
00:37:36,040 --> 00:37:39,719
Speaker 1: the material and then just like being absolute rubes and

814
00:37:39,760 --> 00:37:42,160
Speaker 1: not understanding it at all. And then there's also the

815
00:37:42,160 --> 00:37:44,680
Speaker 1: tension of her like becoming famous later in life and

816
00:37:45,640 --> 00:37:47,759
Speaker 1: it's almost for movies and being like do you ever

817
00:37:47,840 --> 00:37:48,440
Speaker 1: do stage?

818
00:37:48,640 --> 00:37:50,759
Speaker 2: And she's just like, She's like, are you kidding? I Mean,

819
00:37:50,760 --> 00:37:53,600
Speaker 2: that's very yo to us. When people are like, so, wait,

820
00:37:53,640 --> 00:37:56,319
Speaker 2: have you ever like heard of like comedy, right, they're

821
00:37:56,360 --> 00:37:58,000
Speaker 2: like and we're like, we're more then.

822
00:37:58,200 --> 00:37:59,960
Speaker 1: Yeah, they're like, oh, would you already stand up? They're like,

823
00:38:00,480 --> 00:38:03,360
Speaker 1: well I did for many years until I was summarily

824
00:38:03,360 --> 00:38:05,680
Speaker 1: dismissed from the industry, forced to go.

825
00:38:05,800 --> 00:38:08,000
Speaker 2: It's kind of like the beginning career and the end

826
00:38:08,080 --> 00:38:11,400
Speaker 2: career is similar because when she was cast as whatever,

827
00:38:11,520 --> 00:38:15,440
Speaker 2: the lead and some goddamn famous play and the reviewers

828
00:38:15,440 --> 00:38:19,719
Speaker 2: were like, I can't believe this unknown bitch is playing

829
00:38:19,880 --> 00:38:21,479
Speaker 2: you know, this main role.

830
00:38:22,000 --> 00:38:24,280
Speaker 1: And then it's just like I couldn't be more.

831
00:38:24,239 --> 00:38:27,120
Speaker 2: And then that man apologizes to her years later, and

832
00:38:27,160 --> 00:38:28,399
Speaker 2: then of course she's so well known.

833
00:38:28,440 --> 00:38:30,080
Speaker 1: There's a list of people at one point that just

834
00:38:30,160 --> 00:38:34,000
Speaker 1: ends with the name Vivian Pickles, which I was like,

835
00:38:34,000 --> 00:38:35,919
Speaker 1: at a certain point, the British names were like, these

836
00:38:36,000 --> 00:38:40,960
Speaker 1: can't be real people before Cats. Oh wait, she couldn't

837
00:38:40,960 --> 00:38:43,960
Speaker 1: be in Cats because she broke her Achilles tendons and

838
00:38:44,000 --> 00:38:45,680
Speaker 1: she didn't want to go to the premiere of Cats

839
00:38:45,719 --> 00:38:48,120
Speaker 1: because she thought she would cry because she was so

840
00:38:48,160 --> 00:38:49,560
Speaker 1: sad that she wasn't a part of it.

841
00:38:49,760 --> 00:38:52,000
Speaker 2: And then she was finally cast.

842
00:38:52,120 --> 00:38:54,160
Speaker 1: Atomy in the movie.

843
00:38:54,000 --> 00:38:55,879
Speaker 2: In the movie, and she got a Razzie for it.

844
00:38:56,000 --> 00:38:58,640
Speaker 1: I didn't realize that, like that was like such an

845
00:38:58,680 --> 00:39:02,440
Speaker 1: insider gossip. No, that she had been like like tea

846
00:39:03,080 --> 00:39:05,680
Speaker 1: like fun Easter egg for theater fans.

847
00:39:05,880 --> 00:39:08,240
Speaker 2: About Hollywood for a second.

848
00:39:08,360 --> 00:39:10,680
Speaker 1: Yes, So she wins the oscar for Shakespeare in Love,

849
00:39:10,840 --> 00:39:12,720
Speaker 1: which is on screen for all of eight minutes Starling.

850
00:39:12,920 --> 00:39:17,320
Speaker 2: Seeing Shakespeare in Love that changed me because again I,

851
00:39:17,360 --> 00:39:20,640
Speaker 2: as a you know, middle schooler, I rejected Shakespeare. I

852
00:39:20,680 --> 00:39:24,040
Speaker 2: said that's for nerds. And then seeing Shakespeare Love, seeing

853
00:39:24,080 --> 00:39:26,440
Speaker 2: Dame jud seeing Dame Gwyneth.

854
00:39:26,160 --> 00:39:28,880
Speaker 1: Paltrow, right, well, and course Shakespeare Love is not a

855
00:39:28,920 --> 00:39:29,920
Speaker 1: Shakespeare playing.

856
00:39:29,760 --> 00:39:33,080
Speaker 2: Exactly, but it brought me into the genre of it all.

857
00:39:33,520 --> 00:39:36,000
Speaker 1: Did you then go like pick up a copy of

858
00:39:36,520 --> 00:39:37,800
Speaker 1: Night at the Books?

859
00:39:38,040 --> 00:39:41,200
Speaker 2: Not at all, but it made me appreciate it. Honestly,

860
00:39:41,239 --> 00:39:44,000
Speaker 2: the thing that made me appreciate Shakespeare was realizing all

861
00:39:44,080 --> 00:39:46,880
Speaker 2: the best early two thousands or hy two k movies

862
00:39:46,920 --> 00:39:51,520
Speaker 2: are all Shakespeare plays. Oh, she's all that ten Things

863
00:39:51,520 --> 00:39:55,080
Speaker 2: I Hate about You, Things about You, clu This is

864
00:39:55,160 --> 00:39:58,480
Speaker 2: Jane Austen, Yes, but it's it's same, basically the same thing.

865
00:39:58,840 --> 00:40:00,799
Speaker 1: What I love about her trips the Oscars is like,

866
00:40:01,239 --> 00:40:04,680
Speaker 1: she is such an accomplished actress of stage and screen

867
00:40:04,719 --> 00:40:06,839
Speaker 1: at this point, and yet she gets to do all

868
00:40:06,840 --> 00:40:08,560
Speaker 1: these fun things for the first time. So she's actually

869
00:40:08,640 --> 00:40:11,000
Speaker 1: quite humble and excited about everything, and it's so cute

870
00:40:11,000 --> 00:40:14,960
Speaker 1: to see someone with such gravitas be like excited about

871
00:40:14,960 --> 00:40:17,360
Speaker 1: gringon to Hollywood. She's also literally hasn't been to America

872
00:40:17,400 --> 00:40:19,640
Speaker 1: and for thirty eight years at this point, I hadn't

873
00:40:19,680 --> 00:40:22,719
Speaker 1: been here since I was in A Lost Man in

874
00:40:22,800 --> 00:40:24,200
Speaker 1: nineteen sixty nine on body.

875
00:40:24,360 --> 00:40:26,640
Speaker 2: Because she's literally in plays all the time. She does

876
00:40:26,719 --> 00:40:27,879
Speaker 2: no single.

877
00:40:27,640 --> 00:40:29,640
Speaker 1: Days she's in a play. When she goes to the Oscars,

878
00:40:29,760 --> 00:40:32,719
Speaker 1: Harvey Weinstein does a buyout of the play she's in of,

879
00:40:32,760 --> 00:40:36,400
Speaker 1: like A Midsummer Night's Dream or whatever, so she can

880
00:40:36,440 --> 00:40:38,319
Speaker 1: fly to la for liter to nights and then she's

881
00:40:38,520 --> 00:40:41,680
Speaker 1: back on stage two days later. It's actually insane commitment

882
00:40:41,719 --> 00:40:45,920
Speaker 1: to the theater. Okay, I feel like she likes Harvey Weinstein.

883
00:40:46,239 --> 00:40:48,400
Speaker 1: Or it's like, oh so Harvey Weinstein gave her all

884
00:40:48,400 --> 00:40:49,279
Speaker 1: these roles.

885
00:40:49,200 --> 00:40:51,680
Speaker 2: Yes, Chacola, Shakespeare in Love.

886
00:40:51,719 --> 00:40:55,239
Speaker 1: Iris, like these were all Harvey Weinstein joints. I feel

887
00:40:55,280 --> 00:40:57,759
Speaker 1: like there's this thing where it's like it's because she's

888
00:40:57,800 --> 00:40:59,080
Speaker 1: old and he didn't want to fuck her.

889
00:40:59,320 --> 00:41:02,279
Speaker 2: Yeah. That like I think it's like they had a

890
00:41:02,320 --> 00:41:07,279
Speaker 2: special relationship. Yeah, that she wasn't threatened by him. He

891
00:41:07,400 --> 00:41:09,600
Speaker 2: was giving her roles without her and.

892
00:41:09,960 --> 00:41:12,040
Speaker 1: She was already famous, so he didn't need to be like, honey,

893
00:41:12,040 --> 00:41:13,080
Speaker 1: i'll make you famous.

894
00:41:13,200 --> 00:41:15,520
Speaker 2: It's like he was probably groveling to her.

895
00:41:16,000 --> 00:41:19,040
Speaker 1: Yeah, so she gave him some gravitas. Meanwhile, he's like

896
00:41:19,120 --> 00:41:21,640
Speaker 1: raping all the other fourteen year olds. Yeah, and as

897
00:41:21,640 --> 00:41:24,480
Speaker 1: we know, and we won't say not every actress was

898
00:41:26,080 --> 00:41:28,760
Speaker 1: rejecting her residences.

899
00:41:27,920 --> 00:41:31,160
Speaker 2: And like, was Kate Blanchett like telling Judy denshbing, like, well,

900
00:41:31,200 --> 00:41:33,400
Speaker 2: you know, Horvey And she's like, I don't want to

901
00:41:33,440 --> 00:41:38,080
Speaker 2: hear it, Kate, I just don't want to hear it.

902
00:41:38,440 --> 00:41:41,759
Speaker 1: I feel like Kate. She's also like, don't I don't

903
00:41:41,760 --> 00:41:45,879
Speaker 1: think she's gossiping. No, Kate seems honestly like a bit

904
00:41:45,920 --> 00:41:48,359
Speaker 1: of a bore. Kate Blinchatt doesn't get a lot of

905
00:41:48,440 --> 00:41:51,640
Speaker 1: like discussion in this book. Like she talks about that

906
00:41:51,680 --> 00:41:53,520
Speaker 1: movie and how it was a difficult role, and she's like,

907
00:41:53,760 --> 00:41:55,920
Speaker 1: and Kate's a lovely, lovely actress.

908
00:41:55,920 --> 00:41:58,200
Speaker 2: Because I think Kate is so serious and Kate is

909
00:41:58,239 --> 00:42:01,120
Speaker 2: in her trailer reading a line.

910
00:42:01,160 --> 00:42:03,440
Speaker 1: I think Kate's like deadly serious and she's not playing

911
00:42:03,440 --> 00:42:04,440
Speaker 1: pranks at all.

912
00:42:04,640 --> 00:42:07,920
Speaker 2: With the way Capeley at the Star playing pranks.

913
00:42:08,320 --> 00:42:09,839
Speaker 1: Okay, we good to the author's part.

914
00:42:09,960 --> 00:42:12,040
Speaker 2: Okay, count down to the Oscars. We'll do a back

915
00:42:12,080 --> 00:42:15,160
Speaker 2: and forth here, or will I be the only unlifted

916
00:42:15,200 --> 00:42:19,399
Speaker 2: face in Hollywood? Zandra Rhodes and Donna Tella Vasaci both

917
00:42:19,440 --> 00:42:22,240
Speaker 2: off at dresses. But I shall go to Nicole Farhiy

918
00:42:22,280 --> 00:42:25,880
Speaker 2: and keep it in the family missus David Hare parentheses

919
00:42:26,520 --> 00:42:29,800
Speaker 2: on Friday at the half A huge bouquet blossom and

920
00:42:29,880 --> 00:42:32,000
Speaker 2: yellow roses arrive at the theater and a bottle of

921
00:42:32,080 --> 00:42:36,800
Speaker 2: Chrystal champagne from Dustin Hoffman, who had seen Missus Brown

922
00:42:36,840 --> 00:42:39,560
Speaker 2: and is very complimentary. I shall be able to write

923
00:42:39,560 --> 00:42:43,200
Speaker 2: a book entitled My Life with the Stars. March third.

924
00:42:43,320 --> 00:42:47,160
Speaker 2: Interview with Merry lou Dent down the phone to La.

925
00:42:47,560 --> 00:42:49,560
Speaker 2: This may be in delicate, but you seem to have

926
00:42:49,600 --> 00:42:52,200
Speaker 2: a lot of energy for someone of your age. Veteran,

927
00:42:52,400 --> 00:42:56,759
Speaker 2: old old god, et cetera. Tuesday, tenth March eight am

928
00:42:56,880 --> 00:42:59,759
Speaker 2: had to talk to James Knotty. I couldn't spell not

929
00:42:59,840 --> 00:43:02,760
Speaker 2: to for the Today Program, and of course she spells

930
00:43:02,800 --> 00:43:06,520
Speaker 2: program the British Way Program, seven MS Live. I mumbled

931
00:43:06,520 --> 00:43:08,240
Speaker 2: a lot and didn't really come up with the goods.

932
00:43:08,440 --> 00:43:11,759
Speaker 2: Four thirty two fabots place to meet Nicole. She'd done

933
00:43:11,800 --> 00:43:13,719
Speaker 2: several designs and we chose one of them. We just

934
00:43:13,719 --> 00:43:16,440
Speaker 2: said on the gray or Ganza, not the frost.

935
00:43:16,520 --> 00:43:19,080
Speaker 1: Fitting at one seventeen b Fulham Road. When Nicole and

936
00:43:19,120 --> 00:43:21,319
Speaker 1: Barry and the design team saw a wonderful trouser suit.

937
00:43:21,360 --> 00:43:22,960
Speaker 1: They are a lersing it for me. Got a four

938
00:43:23,040 --> 00:43:25,600
Speaker 1: leaf clover from Van Cleve and apples for luck turned

939
00:43:25,640 --> 00:43:29,520
Speaker 1: down aspray, Turn down aspray, which is like another jeweler.

940
00:43:29,680 --> 00:43:32,200
Speaker 2: Julia Yes, Diamonds Critic Circle lunch.

941
00:43:32,239 --> 00:43:34,240
Speaker 1: They all wish me well, fitting with Nicole for thirty

942
00:43:34,880 --> 00:43:38,600
Speaker 1: tor fax me through diamond aarians from vcna's chose figures

943
00:43:38,600 --> 00:43:41,560
Speaker 1: of eights. They are only fifty thousand dollars a pair.

944
00:43:42,080 --> 00:43:43,960
Speaker 1: Long talk to people who rang to wish me luck.

945
00:43:44,120 --> 00:43:48,160
Speaker 1: Note from Liam Neeson, cards flowers from Pauline and John Alderton, GPS,

946
00:43:48,239 --> 00:43:50,440
Speaker 1: Jeffrey Palmer and sal rang. After the show when I'd

947
00:43:50,440 --> 00:43:52,400
Speaker 1: taken my wet dress off, all the crew and company

948
00:43:52,400 --> 00:43:55,640
Speaker 1: were waiting with Champagne a lovely card, and Ronnie Pickup

949
00:43:55,680 --> 00:43:57,480
Speaker 1: made a speech Ronnie.

950
00:43:57,160 --> 00:43:59,920
Speaker 2: Pick Up, Ronnie Pickup, okay this parts and.

951
00:44:00,239 --> 00:44:02,520
Speaker 1: So then she goes got to Heathrow terminal four and

952
00:44:02,520 --> 00:44:05,759
Speaker 1: were as we checked in, the staff at Gatwick had

953
00:44:05,800 --> 00:44:08,920
Speaker 1: sent good wishes. So she's flying out of Heathrow to

954
00:44:09,120 --> 00:44:12,680
Speaker 1: la and the staff at the other airport is being like,

955
00:44:12,800 --> 00:44:13,600
Speaker 1: we wish.

956
00:44:13,320 --> 00:44:15,719
Speaker 2: You again, like so British.

957
00:44:15,600 --> 00:44:17,920
Speaker 1: But it's like so cute. The entire nation is cheering

958
00:44:17,960 --> 00:44:19,680
Speaker 1: her on and they're all laying like go.

959
00:44:19,880 --> 00:44:22,719
Speaker 2: Judy, because at the other of the day, people love

960
00:44:22,960 --> 00:44:26,040
Speaker 2: the Oscars, they love the Oscars, and they desperately want

961
00:44:26,040 --> 00:44:27,759
Speaker 2: to be validated by the Americans.

962
00:44:28,320 --> 00:44:30,120
Speaker 1: The whole world longs for.

963
00:44:30,320 --> 00:44:32,879
Speaker 2: A little approved sums.

964
00:44:32,640 --> 00:44:37,439
Speaker 1: Up from Uncle Sam. How humiliating. And then she gets

965
00:44:37,440 --> 00:44:39,640
Speaker 1: in the plane champagne lunch. Then she goes she gets

966
00:44:39,640 --> 00:44:42,000
Speaker 1: a box of Choks with little Oscar attached. But after

967
00:44:42,040 --> 00:44:43,879
Speaker 1: that I simply didn't have time to keep them diary.

968
00:44:43,920 --> 00:44:46,360
Speaker 1: It was absolute madness. The whole thing was absolutely wonderful,

969
00:44:46,520 --> 00:44:48,840
Speaker 1: but it's like nothing we do here. You're not gettingbody

970
00:44:48,920 --> 00:44:50,600
Speaker 1: the crack of dong. There are hairdresses and people to

971
00:44:50,600 --> 00:44:53,440
Speaker 1: do your nails, your feet, and goodness knows what arrives

972
00:44:53,480 --> 00:45:02,839
Speaker 1: permanent orange juice and coffee and strawberries dipped in chocolatement.

973
00:45:01,120 --> 00:45:02,440
Speaker 2: Which has lots of sugar.

974
00:45:02,560 --> 00:45:04,640
Speaker 1: You know, we haven't even talked about when she and

975
00:45:04,719 --> 00:45:07,759
Speaker 1: like seven other dames are like shooting that movie and

976
00:45:07,800 --> 00:45:10,120
Speaker 1: they're staying in Italy and then like she goes to

977
00:45:10,160 --> 00:45:13,160
Speaker 1: this hotel that's like absolutely terrible and the air conditioning

978
00:45:13,200 --> 00:45:16,600
Speaker 1: doesn't work and she's furious, and then like one of

979
00:45:16,640 --> 00:45:19,280
Speaker 1: the other actresses, this other dame comes up. She goes, Judy,

980
00:45:19,360 --> 00:45:21,600
Speaker 1: it's a knocking shop. I've already had three go at

981
00:45:21,600 --> 00:45:24,120
Speaker 1: it since we came in, and just being like, it's

982
00:45:24,160 --> 00:45:26,680
Speaker 1: like a fuck hotel for like prostitutes calling it a

983
00:45:26,719 --> 00:45:27,400
Speaker 1: knocking shop.

984
00:45:27,440 --> 00:45:30,120
Speaker 2: She's very the film we watch over the Weekend, A.

985
00:45:30,160 --> 00:45:34,440
Speaker 1: Room with a View, where she plays a total not

986
00:45:34,880 --> 00:45:37,239
Speaker 1: a rebald novelist who's.

987
00:45:37,000 --> 00:45:39,719
Speaker 2: Always like getting gossip from like a little inn in

988
00:45:39,880 --> 00:45:43,280
Speaker 2: Venice and then writing about the going ons, and then back.

989
00:45:43,080 --> 00:45:45,759
Speaker 1: To her being rebald yet not rebald. Was when they're

990
00:45:45,800 --> 00:45:48,080
Speaker 1: also doing the press tour for nine or something and

991
00:45:48,120 --> 00:45:51,680
Speaker 1: someone says to Nicole Kidman, They're like, oh, you're rather tall,

992
00:45:51,760 --> 00:45:53,920
Speaker 1: and she was like after that, we sent them on

993
00:45:54,000 --> 00:45:55,480
Speaker 1: their way, and she's so offended.

994
00:45:55,600 --> 00:45:57,799
Speaker 2: It's about privacy rights.

995
00:45:58,239 --> 00:46:00,960
Speaker 1: You can make jokes, but reporters can't ask about your head.

996
00:46:01,239 --> 00:46:04,279
Speaker 2: It's like her and Maggie's day. Maggie Smith can make

997
00:46:04,360 --> 00:46:09,040
Speaker 2: some jokes about maybe Liam Neeson's package, though I doubt

998
00:46:09,080 --> 00:46:13,440
Speaker 2: they would, but like an American reporter is like Nicole Kidman,

999
00:46:13,480 --> 00:46:16,319
Speaker 2: how tall are you? She's like, what business is it?

1000
00:46:16,400 --> 00:46:16,880
Speaker 2: A theirs?

1001
00:46:20,960 --> 00:46:23,040
Speaker 1: Especially not a reporter from a foreign court.

1002
00:46:24,320 --> 00:46:26,480
Speaker 2: So crazy to me that she was in cabaret. That's

1003
00:46:26,520 --> 00:46:29,239
Speaker 2: actually like her biggest acting accomplishment because she is so

1004
00:46:29,400 --> 00:46:32,000
Speaker 2: day Maggie, and like for her to be in cabaret

1005
00:46:32,080 --> 00:46:35,000
Speaker 2: just seems like such a crazy non Judy Dune still

1006
00:46:35,160 --> 00:46:35,719
Speaker 2: roll to me.

1007
00:46:36,080 --> 00:46:39,799
Speaker 1: Because it's like so naughty and sexy. But then there's

1008
00:46:39,800 --> 00:46:41,319
Speaker 1: a naughtiness in so much of her role.

1009
00:46:41,520 --> 00:46:46,040
Speaker 2: Her naughtiness is like more evil less like a little

1010
00:46:46,040 --> 00:46:51,799
Speaker 2: bit more yes, it's more of like a calculating like

1011
00:46:51,880 --> 00:46:55,920
Speaker 2: her notes on a scandal. Oh on, she a little hog.

1012
00:46:56,360 --> 00:46:59,520
Speaker 1: That movie is so fucking incredible. It is the most

1013
00:46:59,520 --> 00:47:04,120
Speaker 1: like delis. The writing is so insane, it's an incisive

1014
00:47:04,640 --> 00:47:08,920
Speaker 1: it's commentary on like bourgeois liberalism in Britain.

1015
00:47:10,160 --> 00:47:13,320
Speaker 2: One thing about that movie, the joke that everyone uses

1016
00:47:13,520 --> 00:47:17,680
Speaker 2: for like liberal teaching is basket weaving. Have you noticed that.

1017
00:47:18,280 --> 00:47:20,000
Speaker 1: I feel like it's very the joke now that you

1018
00:47:20,040 --> 00:47:24,680
Speaker 1: would say about like getting your degree and like gender thrifting. Yeah,

1019
00:47:24,680 --> 00:47:27,759
Speaker 1: and gender thrifting. When we talked about earlier how she's

1020
00:47:27,800 --> 00:47:30,080
Speaker 1: such a good actress that she shrugs her souldiers without

1021
00:47:30,080 --> 00:47:32,080
Speaker 1: even shrugging her shoulders and the camera picks it up.

1022
00:47:32,239 --> 00:47:36,200
Speaker 1: There's such imperceptibilities that are so perceivable in her acting

1023
00:47:36,239 --> 00:47:38,719
Speaker 1: in that movie, like when Kate invites her to lunch

1024
00:47:38,719 --> 00:47:40,600
Speaker 1: and you can just see the joy in her eyes,

1025
00:47:40,640 --> 00:47:43,320
Speaker 1: but she hides it and you can see her character

1026
00:47:44,200 --> 00:47:46,960
Speaker 1: but also taking out within and being so excited. It's like, oh,

1027
00:47:47,040 --> 00:47:47,680
Speaker 1: it's incredible.

1028
00:47:47,719 --> 00:47:50,200
Speaker 2: It's also insane how she can go from the big

1029
00:47:50,280 --> 00:47:52,640
Speaker 2: theater movements to film.

1030
00:47:52,680 --> 00:47:54,240
Speaker 1: But I think it's because.

1031
00:47:55,480 --> 00:47:58,560
Speaker 2: And she can turn it down, but it seems and

1032
00:47:58,640 --> 00:48:00,920
Speaker 2: when someone goes to stage, it's I'm so obvious to

1033
00:48:01,000 --> 00:48:03,640
Speaker 2: turn it up, And I think it's easier to turn

1034
00:48:03,760 --> 00:48:07,640
Speaker 2: down once you know how to turning it up is

1035
00:48:07,680 --> 00:48:08,480
Speaker 2: on the stage.

1036
00:48:08,680 --> 00:48:20,520
Speaker 3: Yes, Dame Dame segments.

1037
00:48:20,560 --> 00:48:21,200
Speaker 2: How does she live?

1038
00:48:21,280 --> 00:48:22,200
Speaker 1: What does she wear?

1039
00:48:22,600 --> 00:48:23,319
Speaker 2: What does she eat?

1040
00:48:23,400 --> 00:48:25,440
Speaker 1: Well, Darling, she eats and drinks champagne.

1041
00:48:25,640 --> 00:48:27,799
Speaker 2: One part she goes, I really don't like to drink

1042
00:48:27,880 --> 00:48:30,760
Speaker 2: much unless it's champagne.

1043
00:48:31,160 --> 00:48:34,640
Speaker 1: Because she's just literally permanently fabulous.

1044
00:48:34,000 --> 00:48:36,359
Speaker 2: And like British, and she's having one flute that she's

1045
00:48:36,400 --> 00:48:37,440
Speaker 2: sipping on slowly.

1046
00:48:37,640 --> 00:48:40,279
Speaker 1: But then there's sometimes like after the Oscar she goes,

1047
00:48:40,320 --> 00:48:41,680
Speaker 1: I had a lot of champagne where.

1048
00:48:41,560 --> 00:48:43,320
Speaker 2: She's like me and Dave make Smith.

1049
00:48:43,800 --> 00:48:46,640
Speaker 1: I do think that's a lot of chamagne. Three glass,

1050
00:48:46,960 --> 00:48:48,200
Speaker 1: four glasses.

1051
00:48:47,760 --> 00:48:50,040
Speaker 2: Which is a lot of champagne. Sure, because it goes

1052
00:48:50,080 --> 00:48:50,400
Speaker 2: straight to.

1053
00:48:50,400 --> 00:48:52,319
Speaker 1: Your head, right when I call that a Tuesday night.

1054
00:48:52,760 --> 00:48:56,000
Speaker 2: Unless it's a very nice champagne, you can hardly drink

1055
00:48:56,040 --> 00:48:56,520
Speaker 2: it anymore.

1056
00:48:56,640 --> 00:48:57,959
Speaker 1: Yeah, it's either you have one.

1057
00:48:58,040 --> 00:48:58,920
Speaker 2: I think that's good.

1058
00:48:59,120 --> 00:49:01,400
Speaker 1: It can to your head immediately and give you this

1059
00:49:01,480 --> 00:49:03,160
Speaker 1: kind of headache. And then I make some of the

1060
00:49:03,280 --> 00:49:05,560
Speaker 1: things like sometimes about sticky with just champagne.

1061
00:49:05,560 --> 00:49:08,279
Speaker 2: She talks about when she's doing you know, matinees and

1062
00:49:08,280 --> 00:49:10,879
Speaker 2: dinner performances, and she goes, I would have a light

1063
00:49:10,960 --> 00:49:13,719
Speaker 2: lunch of chicken. But there's one play they treat me

1064
00:49:13,800 --> 00:49:15,680
Speaker 2: so well, and they basically brought her lobster.

1065
00:49:15,440 --> 00:49:19,160
Speaker 1: Salad, gifted lops, gifted me loves of salad.

1066
00:49:18,920 --> 00:49:21,480
Speaker 2: Every night, and she was like, now that is fabulous.

1067
00:49:21,520 --> 00:49:23,600
Speaker 1: Wait the part though, when she and her husband are

1068
00:49:23,600 --> 00:49:26,560
Speaker 1: in the same play in the third act, he would

1069
00:49:26,560 --> 00:49:29,000
Speaker 1: bring the menu from the restaurant they were going to

1070
00:49:29,120 --> 00:49:31,320
Speaker 1: every night and like show it to her on stage

1071
00:49:31,760 --> 00:49:33,319
Speaker 1: and like, whisper, what do you want? And she would

1072
00:49:33,320 --> 00:49:34,560
Speaker 1: like whisper to him her order.

1073
00:49:36,719 --> 00:49:39,280
Speaker 2: Yeah, that's what's all about showing a menu.

1074
00:49:39,440 --> 00:49:41,840
Speaker 1: So she's having like all this kind of like eighties.

1075
00:49:41,880 --> 00:49:44,720
Speaker 1: She's having like lettuce cups with shrimp and lobsters.

1076
00:49:44,320 --> 00:49:46,480
Speaker 2: And like, yeah, like a boiled chicken and a little

1077
00:49:46,560 --> 00:49:48,200
Speaker 2: lettuce cup. It's all very British.

1078
00:49:48,239 --> 00:49:50,799
Speaker 1: It's very British and like fish forward.

1079
00:49:50,560 --> 00:49:52,600
Speaker 2: Fish based, and you know. And then she loved lobster.

1080
00:49:52,640 --> 00:49:54,680
Speaker 2: And I'm sure there are these British lunches at her

1081
00:49:54,840 --> 00:49:57,640
Speaker 2: castle whatever, where there is maybe a pasta that she

1082
00:49:57,680 --> 00:49:58,839
Speaker 2: will have a little bit of.

1083
00:49:59,040 --> 00:50:01,720
Speaker 1: What does she wear? I she loves linen. She loves

1084
00:50:01,760 --> 00:50:03,400
Speaker 1: like neutral colors and cream.

1085
00:50:04,080 --> 00:50:08,520
Speaker 2: Now she's so big cream sweater that like drapes here

1086
00:50:08,680 --> 00:50:11,120
Speaker 2: with a possum scarf and lots.

1087
00:50:10,800 --> 00:50:16,000
Speaker 1: Of little necklaces and rings and gold metals.

1088
00:50:15,360 --> 00:50:18,680
Speaker 2: Kind of like iconic old woman Eileen Fisher style.

1089
00:50:19,000 --> 00:50:20,320
Speaker 1: Yes, but she's not dowdy.

1090
00:50:20,400 --> 00:50:21,799
Speaker 2: It's a cashumn.

1091
00:50:22,160 --> 00:50:24,200
Speaker 1: Yeah. And the linen has a bit of structure to it,

1092
00:50:24,239 --> 00:50:24,400
Speaker 1: you know.

1093
00:50:24,480 --> 00:50:26,680
Speaker 2: And I think as she mentioned, like she has you know,

1094
00:50:26,800 --> 00:50:30,480
Speaker 2: designer friends and wives of other actors who make her

1095
00:50:30,480 --> 00:50:33,759
Speaker 2: these some kind of maybe stunning pieces, but she's not.

1096
00:50:33,880 --> 00:50:36,359
Speaker 2: But then it's like Donnatella is approaching her and she's like, well,

1097
00:50:36,400 --> 00:50:40,440
Speaker 2: of course I will only be styled by my good friend.

1098
00:50:42,320 --> 00:50:46,279
Speaker 1: You know, it's a stone with stone of stone, lot,

1099
00:50:46,600 --> 00:50:51,920
Speaker 1: large fireplaces, old cauldrons, little kitchen pots, the piles of books.

1100
00:50:51,960 --> 00:50:54,280
Speaker 1: I mean, it's not modern, right, there's lots of old

1101
00:50:54,360 --> 00:51:00,840
Speaker 1: like delicious Chinese on WIRs, delicious Chinese screens, and you know,

1102
00:51:00,880 --> 00:51:03,040
Speaker 1: and there's like chintz fabrics on some of the rooms.

1103
00:51:03,040 --> 00:51:05,400
Speaker 1: And then there's lots of day beds, and there's a

1104
00:51:05,520 --> 00:51:06,960
Speaker 1: garden of course.

1105
00:51:06,760 --> 00:51:09,160
Speaker 2: Oh of course I've gotten and like her little dog

1106
00:51:09,280 --> 00:51:13,640
Speaker 2: is fluffing through the garden and maybe Finty's childhood art.

1107
00:51:13,880 --> 00:51:18,319
Speaker 1: Oh how lovely. One of the thousand framed letters from

1108
00:51:18,400 --> 00:51:22,319
Speaker 1: Vanessa redgravees and frame notes from like Michael Bancroft on

1109
00:51:22,360 --> 00:51:25,719
Speaker 1: the evening of the first performance of Twelfth Night at

1110
00:51:25,719 --> 00:51:27,719
Speaker 1: the Finchley Theater in Crawditch.

1111
00:51:27,960 --> 00:51:32,200
Speaker 2: And of course there's just like first edition Shakespeare's like everywhere,

1112
00:51:32,239 --> 00:51:34,200
Speaker 2: you know. At the end she says she's never done

1113
00:51:34,320 --> 00:51:37,400
Speaker 2: a modern American play, which is kind of crazy.

1114
00:51:37,560 --> 00:51:39,520
Speaker 1: I know, I hope I want her to do that.

1115
00:51:40,080 --> 00:51:42,560
Speaker 1: She's auditioning for Slave Play when it moves to London.

1116
00:51:43,200 --> 00:51:45,799
Speaker 2: She used to like do something raw and real, like

1117
00:51:45,840 --> 00:51:47,280
Speaker 2: stopping plates.

1118
00:51:46,960 --> 00:51:49,920
Speaker 1: Stop people and start getting real duty. Well, she's like,

1119
00:51:50,040 --> 00:51:52,360
Speaker 1: but when then you do Shakespeare in modern dress, do

1120
00:51:52,360 --> 00:51:54,040
Speaker 1: they expect you to bring up the telephone?

1121
00:51:54,800 --> 00:51:57,920
Speaker 2: Here's my thing about Shakespeare. All people know how to

1122
00:51:57,960 --> 00:52:01,200
Speaker 2: do with Shakespeare is put people in modern clothes.

1123
00:52:01,239 --> 00:52:03,160
Speaker 1: Okay. I did want to bring this up because she

1124
00:52:03,239 --> 00:52:07,280
Speaker 1: says that their production of Macbeth that they did in Oxford, Yes,

1125
00:52:07,360 --> 00:52:10,200
Speaker 1: it was in a very cramped, intimate theater, and so

1126
00:52:10,239 --> 00:52:11,759
Speaker 1: the production was so intimate. But I was like, this

1127
00:52:11,800 --> 00:52:13,920
Speaker 1: is so Shakespeare to be like they were in minimal

1128
00:52:14,000 --> 00:52:16,480
Speaker 1: dress and it was actually really intimate and it was

1129
00:52:16,520 --> 00:52:20,520
Speaker 1: actually a new Lens bath because you were so close

1130
00:52:20,520 --> 00:52:22,560
Speaker 1: to the actors and you really felt the emotion of it.

1131
00:52:22,640 --> 00:52:25,040
Speaker 1: And it's like, that's all people knew is paired down right.

1132
00:52:25,080 --> 00:52:28,279
Speaker 2: It's either pared down or it's leather jackets. Yeah, and

1133
00:52:28,320 --> 00:52:32,840
Speaker 2: it's Shakespeare during cbgbre Yeah.

1134
00:52:32,880 --> 00:52:34,879
Speaker 1: I mean I do think that Beslerman did a great

1135
00:52:34,920 --> 00:52:36,320
Speaker 1: job with Roman and Juliet.

1136
00:52:36,640 --> 00:52:36,839
Speaker 2: Yeah.

1137
00:52:37,000 --> 00:52:40,480
Speaker 1: I would love to see like a maximalist because that

1138
00:52:40,560 --> 00:52:41,760
Speaker 1: was like a maximalist aesthetic.

1139
00:52:41,840 --> 00:52:46,720
Speaker 2: Well, it was also like a late nineties steampunk blade

1140
00:52:46,800 --> 00:52:48,600
Speaker 2: runner la.

1141
00:52:49,719 --> 00:52:53,600
Speaker 1: I would love to see actually a minimalist period piece Shakespeare,

1142
00:52:53,680 --> 00:52:56,120
Speaker 1: which period like the fifteen hundreds.

1143
00:52:55,680 --> 00:52:59,759
Speaker 2: Okay period period bad period. I want to see a

1144
00:52:59,800 --> 00:53:12,000
Speaker 2: shake Speare that's like all in like Everlane and calls.

1145
00:53:07,760 --> 00:53:13,880
Speaker 1: Just like really good basics, bass layers, bass layer Shakespeare.

1146
00:53:14,880 --> 00:53:17,200
Speaker 2: Sweaters and like wide pants.

1147
00:53:17,239 --> 00:53:19,319
Speaker 1: Right, and like Lady Macbeth is just like in a

1148
00:53:19,440 --> 00:53:20,560
Speaker 1: tight puffer jacket.

1149
00:53:20,920 --> 00:53:22,600
Speaker 2: Yeah, it's in a little ig face.

1150
00:53:22,840 --> 00:53:24,799
Speaker 1: I do like that thing. Also, when guys, she's like

1151
00:53:24,920 --> 00:53:26,880
Speaker 1: everyone was the urge with Lady McBeth to play her

1152
00:53:26,880 --> 00:53:28,920
Speaker 1: as a girl boss from like day one and b

1153
00:53:29,080 --> 00:53:32,600
Speaker 1: two like scheming. It's like, no, she's not. You know,

1154
00:53:32,680 --> 00:53:34,359
Speaker 1: she's scared too, why would she ask for help?

1155
00:53:34,440 --> 00:53:37,320
Speaker 2: The urge to girl urged to girl boss, feminine urged

1156
00:53:37,320 --> 00:53:38,720
Speaker 2: to girl boss Lady Macbeth.

1157
00:53:38,880 --> 00:53:42,520
Speaker 1: It's like, and betch, she actually has more vulnerabilities in

1158
00:53:42,600 --> 00:53:43,000
Speaker 1: you real life?

1159
00:53:43,640 --> 00:53:48,360
Speaker 2: Oh you in the book doa I think I'm Vanessa Pickles.

1160
00:53:50,920 --> 00:53:54,960
Speaker 1: You don't think you're Roger Rees playing curio? Perhaps Donald

1161
00:53:55,000 --> 00:53:56,760
Speaker 1: Sindling quite brilliant, does Molvolio?

1162
00:53:57,280 --> 00:53:59,759
Speaker 2: I feel like your Nicole Kimmen and someone asked you

1163
00:53:59,840 --> 00:54:03,320
Speaker 2: how tall you are? You're about to answer, and Judy's.

1164
00:54:02,920 --> 00:54:07,160
Speaker 1: Like stop and I'm like, you're right, I don't have

1165
00:54:07,200 --> 00:54:08,840
Speaker 1: to debase myself.

1166
00:54:09,080 --> 00:54:11,560
Speaker 2: Or honestly, you're Rob Marshall, because that feels like a

1167
00:54:11,680 --> 00:54:17,760
Speaker 2: you casting of nine putting rock singer Judy Dench penelbe Cruz.

1168
00:54:18,239 --> 00:54:21,399
Speaker 1: I'll take it greatest film and.

1169
00:54:21,320 --> 00:54:24,360
Speaker 2: I'm American rock singer for d Yeah.

1170
00:54:24,040 --> 00:54:26,680
Speaker 1: I don't know, so I give this book it's interesting interesting.

1171
00:54:26,800 --> 00:54:27,760
Speaker 2: Yeah, I've had.

1172
00:54:27,719 --> 00:54:30,760
Speaker 1: Such a fun time yea with Judy this week.

1173
00:54:30,560 --> 00:54:34,320
Speaker 2: With her and actually book I'm not in a way

1174
00:54:34,680 --> 00:54:37,080
Speaker 2: dying over because it is like I love it and

1175
00:54:37,120 --> 00:54:39,840
Speaker 2: I love hearing it. But like the book, I'm almost

1176
00:54:39,880 --> 00:54:42,840
Speaker 2: giving a little bit three point one notices out of

1177
00:54:43,000 --> 00:54:44,319
Speaker 2: five dollars.

1178
00:54:44,080 --> 00:54:46,120
Speaker 1: And is just a list of names, and like the

1179
00:54:46,160 --> 00:54:48,040
Speaker 1: tea is a little few and far between. I like

1180
00:54:48,080 --> 00:54:51,719
Speaker 1: what she says, and yet I'm tempted to give it

1181
00:54:51,760 --> 00:54:56,279
Speaker 1: a higher grade because it just shows her commitments and

1182
00:54:56,320 --> 00:54:59,600
Speaker 1: how much it's like is just all about acting for her,

1183
00:55:00,080 --> 00:55:03,600
Speaker 1: and that's why the art that she's made is so incredible.

1184
00:55:03,800 --> 00:55:07,799
Speaker 1: I'm so inspired by her, like her lack of narcissism.

1185
00:55:07,880 --> 00:55:09,839
Speaker 1: I mean, she really is just it's about the work

1186
00:55:09,880 --> 00:55:11,200
Speaker 1: for her. It's not about the famous.

1187
00:55:11,280 --> 00:55:13,720
Speaker 2: Really, what I mean This is probably the first actor

1188
00:55:13,880 --> 00:55:17,480
Speaker 2: we've done that isn't just like my childhood.

1189
00:55:18,200 --> 00:55:19,880
Speaker 1: Literally, I got this role.

1190
00:55:19,719 --> 00:55:21,560
Speaker 2: But I didn't want to do it. I was done

1191
00:55:21,600 --> 00:55:24,680
Speaker 2: doing action movies. I was done doing chromedies.

1192
00:55:26,120 --> 00:55:29,080
Speaker 1: Literally, it's snooze. She's like, no, Actually, I'm an actress.

1193
00:55:29,120 --> 00:55:30,040
Speaker 1: So I'm gonna fucking work.

1194
00:55:30,080 --> 00:55:30,719
Speaker 2: I'm gonna work.

1195
00:55:30,840 --> 00:55:32,759
Speaker 1: I'm gonna work around the clock, and I'm gonna like

1196
00:55:32,960 --> 00:55:35,640
Speaker 1: get really into the roles and be really excited by

1197
00:55:35,640 --> 00:55:36,719
Speaker 1: telling these stories.

1198
00:55:37,160 --> 00:55:42,279
Speaker 2: So Dame Judy densht Dame story matter and we dame

1199
00:55:42,320 --> 00:55:42,680
Speaker 2: you again.

1200
00:55:42,800 --> 00:55:46,560
Speaker 1: Right, So I'm gonna actually give this three point nine

1201
00:55:47,640 --> 00:55:48,919
Speaker 1: sunny proposals at five.

1202
00:55:49,960 --> 00:55:53,360
Speaker 2: And remember everyone, never let your kilt get.

1203
00:55:53,200 --> 00:55:56,000
Speaker 1: Wet, because a wet kilt can be like a sword

1204
00:55:56,239 --> 00:55:57,320
Speaker 1: on the shins.

1205
00:55:57,080 --> 00:55:59,399
Speaker 2: And it will cut you. Best bet.

1206
00:56:01,880 --> 00:56:04,960
Speaker 1: This podcast was originally produced as a Christmas play for

1207
00:56:05,080 --> 00:56:07,560
Speaker 1: children by Darby Masses, and she did a wonderful job.

1208
00:56:07,960 --> 00:56:10,439
Speaker 1: She actually was with me in the Toad of Toad

1209
00:56:10,480 --> 00:56:13,840
Speaker 1: Hall and she played the brave Stoat. Abu Zafar was

1210
00:56:13,840 --> 00:56:18,200
Speaker 1: the associate producer him. Tony Church and Peter woods Up

1211
00:56:18,560 --> 00:56:21,120
Speaker 1: were my favorite actors who ever played the badger, and

1212
00:56:21,120 --> 00:56:24,440
Speaker 1: they played a ridiculous frank on me where they hid

1213
00:56:24,440 --> 00:56:26,600
Speaker 1: my knickers under the stage, And so I came on

1214
00:56:26,680 --> 00:56:28,400
Speaker 1: and I said, well, where my nickers? And then of

1215
00:56:28,440 --> 00:56:30,440
Speaker 1: course we're all rolled over laughing. But I couldn't roll

1216
00:56:30,440 --> 00:56:34,000
Speaker 1: over because I didn't have on the nickers. The part

1217
00:56:34,040 --> 00:56:38,560
Speaker 1: of Mother Rabbit, our executive producer, was played by Christina Everett.

1218
00:56:39,040 --> 00:56:42,160
Speaker 1: The original theme song was made by Stephen Phillips Horst,

1219
00:56:42,640 --> 00:56:47,359
Speaker 1: who was an absolutely lovely, lovely actor from Glasgow. When

1220
00:56:47,400 --> 00:56:49,439
Speaker 1: he bared his chest in the Merchant of Venice, oh

1221
00:56:49,480 --> 00:56:51,960
Speaker 1: my goodness, it was all Charlotte could do to try

1222
00:56:52,000 --> 00:56:53,799
Speaker 1: to not stab him right there, because the chest was

1223
00:56:53,800 --> 00:56:57,480
Speaker 1: so beautiful, glooming in light right and the audience knew it.

1224
00:56:57,480 --> 00:57:00,960
Speaker 1: It was originally conceived in the old Theater on the

1225
00:57:00,960 --> 00:57:03,560
Speaker 1: Isle of Wight, which is now closed and been turned

1226
00:57:03,560 --> 00:57:07,400
Speaker 1: into a monastery by Prologue Projects. Good for them and amen.

1227
00:57:07,719 --> 00:57:11,800
Speaker 1: The graphic design was done by Teddy Blanks. Teddy Blanks

1228
00:57:11,960 --> 00:57:16,040
Speaker 1: was such a wonderful, wonderful director. I worked with him

1229
00:57:16,200 --> 00:57:18,680
Speaker 1: for many, many years, and we hated each other and

1230
00:57:18,720 --> 00:57:20,560
Speaker 1: got along and had terrible row worth for us because

1231
00:57:20,560 --> 00:57:22,840
Speaker 1: I didn't agree with his choices. But then he made

1232
00:57:22,880 --> 00:57:24,720
Speaker 1: me see the air of my ways, and I believe

1233
00:57:24,800 --> 00:57:29,040
Speaker 1: that he is one of the great graphic designers of Edinburgh.

1234
00:57:29,280 --> 00:57:30,720
Speaker 1: You can go to our Patreon dot comment. I know

1235
00:57:30,760 --> 00:57:32,040
Speaker 1: it's terbur I don't know how to do it. But

1236
00:57:32,080 --> 00:57:34,720
Speaker 1: if you find your computer one of those ghastly objects

1237
00:57:34,760 --> 00:57:38,640
Speaker 1: you plug into the wall and sparks and hisses and

1238
00:57:38,720 --> 00:57:42,040
Speaker 1: makes all of these noises like it's trained from nineteen

1239
00:57:42,160 --> 00:57:46,560
Speaker 1: ten coming through the Czars Russia, and you can find

1240
00:57:46,600 --> 00:57:48,920
Speaker 1: your way to the Patreon right and so there we're

1241
00:57:48,960 --> 00:57:50,520
Speaker 1: going to be killing you more contact because I do

1242
00:57:50,560 --> 00:57:52,680
Speaker 1: really think that these stories matter, and so we'll keep

1243
00:57:52,720 --> 00:57:56,680
Speaker 1: telling these stories for you until we die. We're going

1244
00:57:56,720 --> 00:57:58,320
Speaker 1: to be telling these stories to you until we die,

1245
00:57:58,360 --> 00:58:02,120
Speaker 1: because that's what we do. Thank you so much. Have

1246
00:58:02,200 --> 00:58:05,720
Speaker 1: a nap.